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THE TOYMAKER OF NUREMBERG 

A PLAY IN THREE ACTS AND TWO SCENES 



By AUSTIN STRONG 



THE TOYMAKER OF NUREMBERG 

A PLAY IN THREE ACTS AND TWO SCENES 



By AUSTIN STRONG 



C<y^ 






•CI.D 591 14 :, ^ 



Copyright, 1921, bt Austin Stbono 

Application for the right to perform " The Toymaker of Nuremberg " must be made to the 
author, care of the publishers, Little, Brown & Company. 



•NOV 14 1921 



Dedicated to 
CYRIL MAUDE 






Dramatis Personm 

The Sentry. 

The Street Cleaner. 

The Sergeant. 

The Boy. 

The Girl. 

The Mother. 

The Lamplighter. 

The Employer. 

The Stranger. 

The Boy's Friend. 

The Poet. 

The Children. 

The Soldiers. 

The Toymaker. 

The Clerk. 

The Cook. 

The Driver. 

The Coachman. 

Syno'psis 
Scene. Laid in Nuremberg. Time. Present. 
Act I. Scene I. Outside the Walled Garden. 

Scene II. The Toymaker' s. 
Act II. Inside the Walled Garden. 
Act III. The Toymaker's again. 



THE TOYMAKER OF NUREMBERG 
ACT I 

Scene I 
Outside the Walled Garden 

The curtain rises on the street outside the Walled Garden of 
Herr Kronfeldt. A sentry-box to right and a soldier standing in 
it on duty. A street lamp, not lighted, is in front of him. 

The time is late afternoon, the close of a summer day, and the 
stage is suffused with orange and brown lights. The wall is a 
fretwork of shadows from the light through the leaves above. 

Enter a Soldier, and behind him an Officer. The Sentry pre- 
sents arms as they pass out. To the left are an Officer and Soldier; 
to the right a Street Cleaner. A Woman with a basket enters and 
throws leaves into Street Cleaner s wheelbarrow. Tlien an old 
German pushes in a wheelbarrow. He carries a broom. He com- 
mences to sweep up the dead leaves. Children laugh at Street 
Cleaner. Some Children and Citizens pass, all calmly, sedately. 
Enter a Girl with a smaller Boy and Girl. The small Boy stares 
at the Sentry — is jerked along. The Girl swishes her skirt away 
from the Street Cleaner. The stage becomes empty for a space, 
leaving the Street Cleaner and the Sentry. Enter at left the Boy, 
a healthy-looking youth of seventeen or eighteen, and udth him is 
his friend, Paul. They carry an empty barrel between them. The 
Boy is feverish with suppressed excitement. His friend looks up 
at him with true boyish hero-worship. 

THE BOY (aside to Paul, as they halt with the barrel swinging be- 
tween them). Is that our sentry, Paul? 
PAUL {peering at the sentry-box, and shading his eyes with his 

hand). No — no — take care! I don't know this one! 

Wait till the guard is changed. Ours will come then ! 
THE BOY. I uyill see her this time — Oh, Paul, my heart beats 

so fast! 



262 A Treasury of Plays for Children 

PAUL. Take long breaths! 

STREET CLEANER {picks Up barrow). Eh! What are you boys 

doing with that barrel? 

PAUL. Please — we are — we are 

STREET CLEANER. Ah! There's mischief here! {Putting bar- 
" row down) Explain, please! 
THE BOY. I am the Toymaker's son, Street Cleaner — and 

refuse to explain to you or to anyone. 
STREET CLEANER. The Toymaker's son! You are his son! 

Umph! Then it is all right. There can be no mischief. 

How is your good father, child? 
THE BOY. Well — I thank you. Street Cleaner. 
STREET CLEANER (hobbling off and muttering) . The Toymaker's 

son — um — the Toymaker's son ! No — there is no mis- 
chief here — the Toymaker's son! 

[The lads watch him exit. 
THE BOY {struggling with the end of the barrel). I can't wait, 

Paul, — I must begin ! 
PAUL. No, no — this sentry we don't know, — and he might 

report us ! Wait till the guard changes and our friend sentry 

comes. {Music and drum) Ssh — here they are now. 

[Enter a squad of Soldiers. They change guard with military 

abruptness, leaving another Sentry in the box. Then the squad 

passes out as it came. 
NEW SENTRY {gruffly). Hullo — you boys here again? 

[The two Boys run up to him eagerly — still carrying the empty 

barrel between them. 
PAUL. Oh, Herr Sentry, may we play again to the young lady 

in there? 

[Points at the wall. 
SENTRY. Ha! Ha! Did you ever hear of a soldier spoiling 

sport ! Nay, my lads, do what you please — and I'll stand 

watch for you. 
THE BOY {dropping the barrel and putting out his hand). Herr 

Sentry — you have indeed been truly kind to us 

[The barrel falls on PauVs toe. 
PAUL. Ouch! 



The Toymaher of Nuremberg 263 

THE BOY {to Sentry). and we thank you from our heart. 

[Paul goes to left of barrel. 
SENTRY (putting out a white gloved hand; gruffly). Spoken like 

royalty. Comrade! You'd better hurry — the sun's fast 

going down. -•--. 

[The Lads run to the rear and put the barrel against the walL-. 

The Boy sits on it and Paul kneels below on the ground, looking 

up at him. The Boy takes out the pieces of a flute from his 

divers pockets, and puts them together. 
PAUL. I wonder if it will be a rose or a tulip you will get this 

time, David? 
THE BOY. I am playing for the sight of her face. I've only seen 

her in church ! Ah, will she come — Paul ! 
PAUL. Yes, I tell you — if you keep on playing. You've 

always stopped playing when the flower's been thrown over — 

satisfied with that. But now keep on playing after, and she'll 

be sure to come! 
THE BOY. You think so? 
PAUL. I know it. 

THE BOY. Ah! 

SENTRY. Good luck, Comrade! 

THE BOY (whispering). How my heart beats, Paul. 

PAUL. It will pass. 

[The Boy sits on the barrel and begins on his flute to play a 
quaint, sad little love tune. It is played with great beauty and 
tenderness. He plays some time, when the Sentry thumps the 
ground with his gun. 

SENTRY. Take care. Comrade! Here come the Poet and 
Sergeant Strumpf ! 

[Music. The Boy stops, hides his flute, and remains seated on 
his barrel. Enter then the Sergeant, a veteran with one leg, one 
arm, one eye. He is covered toith medals. With him is his old 
friend, the Tragedian, in a long cloak and high hat. They 
walk arm in arm. The Sergeant, hobbling with abruptness — 
the Poet with languid, affected ease and magnificent manner. 
The Sentry salutes the Sergeant by presenting arms. They 
enter quarrelling. 



264 A Treasury of Plays for Children 

POET. Well, Herr Sergeant — History tells us — 

SERGEANT. Damn your hi story, sir — I was there ! (Saluting — 

as they pass — and halting when he sees the Boy) Ah — Boy ! 

[The Boy jumps off the barrel and removes his hat respectfully. 
THE BOY. Herr Sergeant Strumpf ! Herr Von Staufenbach! 

[The Poet takes off his hat with pompous magnificence and bows 

flatly. 
POET. Boy — we seek thy father — The Master of the Art 

of Toys. Is he at home? 

[Paul walks behind, to below the Poet, vnth the Sentry between 

him and Poet. 
THE BOY. Yes — Herr Staufenbach — and he is waiting for 

you — his dear friends. 

[The Poet puts hat on. 
SERGEANT (to Poe/)- Wellspokeu! {To the Boy) But what 

do you here. Boy, at this time of day? You should be at 

home preparing for bed! 

[Paul has sneaked up behind the Tragedian and pulled at his 

cloak. The latter bends pompously down. Paul whispers in 

his ear. 
PAUL {in a whisper). He waits his love lady! 
POET {at once vnth great air of intrigue) . Trust in me, sir. {Sentry 

watches and smiles. Then aloud) Come, Sergeant Strumpf, 

let us on our peaceful way. 
SERGEANT. No, my friend — I would listen to this lad's ex- 
planation. 
POET. Come — and I will tell you. Sergeant. {Boy takes the 

flute from Sergeant. Crossing left, he drags him reluctantly off) 

You see — his schoolmaster, Herr Rose, has asked him to 

study the effects of the setting sun 

SERGEANT. Oh ! 

POET {turns to Boy and winks). In fact, the great mystery of 
our German twilight. Observation in the youthful brain and 
eye! That, you must see, Herr Sergeant, is the secret of 
our modern education. 

[The Sergeant hobbles off. The Poet, turning, winks at Paul. 
Exeunt both. 



The Toymaker of Nuremberg %Q5 

SENTRY. Whew! That's what I call "Diplomacy." 

PAUL. He's our friend. {To Boy) Now begin again. 

[Flute. The Boy plays again. The Sentry paces right and 
left twice, then returns to his box. Paul, sitting on the ground 
at the foot of the barrel, hugs his knees and looks up at the Boy 
with the deep admiration of youth. The Boy plays the little 
love air loith real tenderness — his eyes directed above him on 
the wall. A large red rose on a long stalk is thrown from the 
other side of the wall, falling in front of the Boy, who stops play- 
ing and goes to pick it up. 

PAUL. No — no ! Don't stop ! Keep on playing, — she'll come 
if you do ! 

THE BOY (with emotion in his voice). But the rose, Paul — the 
rose, 

PAUL (running and picking up the rose). Not till you've played 
her here! Hurry — it will be too late! 

THE BOY (putting the flute to his lips with a catch in his breath). 
Paul — My heart beats so fast ! 

PAUL. Then blow ! Make haste — or she'll be in the house. 

THE BOY (about to play when he puts the flute down) . Oh no — 
I couldn't meet her, Paul — I couldn't actually meet her ! 

PAUL. Blow — Oh, blow ! 

THE BOY (in terror) . I will * 

[With a gasp. Flute. The Boy begins, and the air is very 
jerky, wobbly, and weak, but, as he goes on, he warms to it, and 
it becomes pure and liquid again. He plays for some moments. 

PAUL (his ear to the wall). I hear something — don't stop! 
Stand up on the barrel — she's coming ! 
[The tune wobbles for a moment, as the Boy, with Paul's help, 
gets up on the barrel. His back is to audience as he plays, 
looking up at the top of the wall. 

THE BOY (stopping a moment — fiercely). Hold my legs! 

[Paul puts his arms round the Boy's legs. The Boy plays on. 
Then the top of a ladder is seen against the other side of the wall. 
And, slowly and shyly, a young maiden with dark brown hair 
comes to view; she peeps timidly over the wall, sees the Boy, gives 
a frightened gasp, and disappears. 



^6Q A Treasury of Plays for Children 

THE BOY (stopping his music). Ah, don't go — please — don't 



go 



PAUL (in a hoarse whisper). Blow — you fool — blow! 

[The Boy plays again. The Girl returns and looks over. 
THE BOY (stopping abruptly). Oh, please don't go 'way! 

Please — (A frightened pause) How do you do? 

[Paul smiles; looks at Sentry who faces front. 
THE GIRL (in a frightened whisper, hardly audible). How do 

you do! 

[Another pause. She makes a movement to go down again. 
THE BOY. Please — oh, please — don't go away ! I saw you 

in church yesterday — (Pause) Do you like church? 
THE GIRL. Ye-es — (She looks — Paul smiles — the Sentry 

nods) Good-bye! 
THE BOY. No, no — no — please — one moment. (He vnldly 

searches for a topic) Do you like dogs? 

[Paul and the Sentry listen again. 
THE GIRL. Ye-es. 

[Paul and the Sentry smile. 
THE BOY. Oh, I'm so glad — I have — at least my father — 

has a dog — he's a fine dog — a dachshund ! My name's 

David — what is yours? 
THE GIRL. Hesta. 
THE BOY (vnth emotion). Hesta! 
THE GIRL. I thank you for your music — David. 

[Paul and the Sentry are pleased. 
THE BOY. Thank you — for thanking me, I mean — I — you ! 
THE GIRL. Did you always get my flowers — David? 

[Paul puts the flowers behind his back. The Sentry leans 

forward. 
THE BOY. Yes — see. (Puts his hand in his blouse and brings 

out a bunch of withered flowers) Here they are, all, every 

one — Hesta! 
THE GIRL (with tenderness). Oh! (Then demurely) You Uke 

flowers? 
THE BOY. Not really — only these — only the ones you gave 

me. 



The Toymaker of Nuremberg 267 

[Puts flowers hack. The Girl smiles and turns away; so does 

the Sentry. 
THE GIRL. You play so well. 
THE BOY. Oh, if I could only talk as I play. I want to tell 

you so much — I have told it all to you ever so many times 

on my flute. It comes so easy on my flute — what sounds 

so awkward on my lips. 

[Paul and the Sentry still. 
THE GIRL. David — what does your music say? 
THE BOY. It says — it says — I think you are the nicest girl 

in Nuremberg ! 

[Paul and the Sentry again look at her. 
THE GIRL (abashed). Oh! 

[Sinks slowly out of sight. 
THE BOY. No — no — I didn't mean that — please. I meant — 

(As she comes up again with downcast eyes) Now please don't 

go away — I meant — in all the world. 
THE GIRL. Oh, that's worse. 

[Paul and the Sentry smile. 
THE BOY. Please — Hesta — listen to what my music says. 

(Plays on his flute, looking at her. She looks straight at him. 

He stops — and in a note of tenderness) Can't you — un- 
derstand? 
THE GIRL (in the same tone). Yes, I do — (Paul and the Sentry 

smile) no, no — I mean, of course I don't. 
THE BOY. Please say you do 

THE GIRL. I do ! 
THE BOY. Oh 

THE GIRL. I think it's wrong 

THE BOY. Oh no — oh no ! 

[Here the Lamplighter comes in. The Girl drops behind the 
wall. He is a sleepy peasant, who goes to the lamp and lights it. 
The lovers watch him in terror. He falls asleep — leaning on 
his lighting-stick. The Sentry leans out and pokes him with 
his bayonet. The Lamplighter wakens with a start and hurries 
off — not noticing anything. The Sentry follows him, looking 
at David. 



268 A Treasury of Plays for Children 

BOY. Fraulein Hesta? 

[The Girl comes up. 
THE GIRL. Your father is Herr Budel, is he not? The Toy- 
' fiaaker! 
THE BOY. Oh, yes ! (Proudly) He makes the most beautiful 

dolls in the world! 

THE GIRL. And you 

THE BOY (still more proudly). I paint the eyelashes on 

the dolls — which takes quite a steady hand, I can tell 

you! 
THE GIRL. You paint the eyelashes on the dolls — oh, how 

difficult! 
THE BOY (proudly). My father says I am an artist. 
THE GIRL. I'm sure of it! I would so love to meet your father 

— I have always heard that he is the best loved man in 

Nuremberg. 
THE BOY (proudly). Yes — and I'm his son! May I bring him 

to see you? 
THE GIRL. Oh, yes — please ! 
THE BOY. And Nebuchadnezzar? 
THE GIRL (puzzled). Nebuchaduezzaj ? 
THE BOY. Yes — our dog. 
THE GIRL. Oh — please — yes ! 

THE SENTRY (enters, hanging his gun on the ground and whisper- 
ing). The guard is coming — hurry. Comrade! 
THE GIRL. What was that? 
THE BOY. Nothing — Good-bye ! 
THE GIRL (looking at him). Good-bye! 

[A pause. 
THE BOY (reluctantly). Good-bye! 
THE GIRL. Good-bye! 

[Neither moves. 
THE BOY (putting up his hand). Good-bye — Hesta! 
THE GIRL (reaching down her hand) . Good-bye — David. 
THE BOY (holding it). Please, may I kiss your hand? 
THE GIRL. Oh, no ! (He does so) There — you've done it ! 

[Crossly. 



The Toymaker of Nuremberg 269 

THE BOY {tenderly). God bless you! 
{The Girl disappears ivithout a word. 

THE BOY (in agony). Oh, please — I didn't mean to hurt you ! 
I didn't mean to hurt you — -^ 

THE GIRL (shyly, peeping over the wall). Of course I under- 
stood ! 

THE BOY (bewildered and dazed). Understood — what do you 
mean — understood what? 

THE GIRL (slowly and tenderly). What your music meant, 
David. 
[Disappears in a flash. 

THE BOY (in rapture). Oh! 

[Tries to climb the wall — the barrel upsets, and he tumbles 
down with a crash into the arms of Paul. 

PAUL (to David — after helping to pick him up). Are you hurt, 
David, — oh, are you hurt? 

THE BOY (joyously) . No, no! Of course I'm not hurt! Come! 
Let's go and tell my father. 

[Music. Enter the Guard from left, the Sergeant carrying an 
old-fashioned lantern. In step to his music, the Boy comes down 
to them, still playing. Paul follows, dragging the barrel. The 
Guard marches off. The Boy falls into step and marches, 
gaily playing behind them — vrith his face towards the wall 
which is almost lost in darkness. Paul shoulders the barrel and 
falls into step. All exeunt. 

END OF SCENE I 



Scene II 
The Toymaker^s. 

A most wonderful room — tall and narrow. A high bow- 
window at rear, through which one sees the top of a high tower and 
the enormous face of a clock — only V, VI, and VII o'clock being 
visible. The great hands move slowly by, at stated intervals. 
The windows are leaded with diamond-shaped panes. A door to 



270 A Treasury of Plays for Children 

left, with two steps leading up to it, and a wooden railing on either 
side. A wooden balcony at right, railed. Entrance at right. 
The how-window alcove at rear. Each window has a windoio- 
seat, with worn and threadbare curtains of grey-vermillion. Table 
at rear on which is a big lamp with a green shade. The table is 
filled with pots of paint — and a sort of easel on which the Toy- 
maker places each doll as he paints it. There is another table 
with a lamp and a small carpenter bench. 

Shelves line the rear walls, on which are dolls' heads, masks, 
wooden soldiers, jumping- jacks, etc. Models of old-fashioned 
ships hang from the ceiling; also a huge pantomime mask of a 
giant, now dusty and shabby with age. Pictures are on the walls; 
also a comic cartoon and a series of smaller pictures telling a funny 
story. 

Evening. Both lamps are lighted. The curtain goes up on the 
pealing of the chimes of Nuremberg, without. The clock strikes 
five. The Toymaker is seen sitting at the rear table, putting dolls' 
heads on with infinite care. He is dressed in a long, light blue 
blouse, covered with every conceivable colour of dried paint, where 
he has wiped his brushes. The Toymaker is a tiny, wistful old 
man, with a high, bald head and surprised, wistful eyes. He ivears 
enormous tortoise-shell spectacles at the end of his nose when he 
works. He works as if he loved it beyond life. The chimes grow 
fainter. A cane and picture are on a chair. 

And the audience hear him breathlessly, softly, whistling a 
simple child song. He stops when his work gets difficult. Then 
he begins again with renewed vigour when the difficulty is over- 
come. It is more like a wheeze than a whistle. A timid knock 
is heard at the door. The Toymaker, lost to the world, whistles and 
works on. The door opens and two little Girls come in, mothering 
an even smaller Boy. • They come and stand with backs to audience, 
close to the Toymaker, and watch him work with the profound 
attention of childhood. 

FIRST CHILD (after a long pause). Please, Herr Toymaker, we 
have come to see how the dolls are born! (The Toymaker 
turns and stares at them with his brush in the air, a doll, steadied 
in his other hand, — all the while whistling his little air. A pause) 



The Toy maker of Nuremberg 271 

Please, Herr Toymaker, we have come to see how dolls are 
born. You told us we could ! 

THE TOYMAKER (with mystery, as he holds the doll up). You have 
to see how the dolls are born! Watch! {The Children at 
once sit down and look up at him) This is a lady — she is 
almost ready to love her little mama! 
[Continues whistling. 

FIRST CHILD. Isn't she finished yet? 

THE TOYMAKER (more mysteriously) . Not yet! I have to give 
her a heart before she can love! 
[Continues whistling. 

FIRST CHILD. How do you give her a heart, Herr Toy- 
maker? 

THE TOYMAKER. Ssst! To givc her a heart is very diflScult! 

A slip of my hand and It is very difficult — watch ! (Picks 

up a little red paper heart) Here is the heart, see — I put it 
(does so) inside this little doll — so — and — now she is born. 
[Holds it up. The door opens and a very pretty woman of fifty 
enters. She stands and smiles at the group, half hidden off 
right. 

FIRST CHILD. May we have her, please? — Herr Toymaker? 

TOYMAKER (flustered). Oh! — Oh! Oh, no — I am sorry — 
this lady and all these other ladies are for little children like 
you in America! Sometimes I wonder how my little people 
fare out over there. If their hands and eyes and arms and 
legs are pulled off! The outside world is a hard place! (be- 
comes lost in thought) — a hard place! 

THE BOY (crying, half rising). Boo-hoo! I want ze dolly! 

TOYMAKER (frightened). Please — please! I'm sorry! (Picks 
up a Jack-in-the-box and lets it off. It jumps three feet in the 
air. The Children scream and get up) Here! I've got this 
for you — see ! 

FIRST CHILD. Has it got a heart, too, Herr Toymaker? 

TOYMAKER. A heart! No, he couldn't do what he does if he 
had! 

THE BOY. Boo-hoo — I wantz zc doUy! 

[The little Boy keeps on crying till he gets the doll; then laughs. 



272 A Treasury of Plays for Children 

TOYMAKER. Hush — sssh ! — here — take her, quick — and 

run away before I change my mind or my wife sees me. 

[Gives Jack to the Girl, running to the door, and doll to the Boy. 
CHILDREN. Thank you, Herr Toymaker! 
TOYMAKER. Be good to her — she is alive — she is born — her 

heart is very new — it might break! Good-bye! 
CHILDREN. Good-bye, Herr Toymaker! 

[Exeunt down left. He stands waving to them. He takes off 

his spectacles — wipes them — and, beginning to whistle 

eagerly again, he trots back to his table and is about to sit, 
FRAU BUDEL (stemly). Abraham! 

TOYMAKER (overcome with guilt). Oh, is that you, Emma! 
FRAU BUDEL {going towards him, sternly). Yes, it's "me Emma"! 

Why did you give away that good doll? It's worth one mark ! 

Can I never stop you? How can we live if you give away 

everything you make ! 
TOYMAKER. Please, the little feUow, he wanted it, — he said 

he wanted it ! When a child cries, — {looks at her) Emma, we 

don't like to hear a child's cry ! — do we? And you — please — 

you mustn't scold on our wedding-day. [Sits. 
FRAU BUDEL (coming to him, and putting her arms about him, 

with tenderness in her voice). Oh, Abraham, please — please 

try and be wise. 
TOYMAKER (nodding his head). I'll try. 

[Goes back to work. 
FRAU BUDEL. Yes — you must (crosses) because we have heard 

this rumour — (Toymaker is interested) — how in America — - 

in Kansas City — dolls are going out of fashion, and these 

fur bears are what the children like more. 
TOYMAKER (rises and goes up, stopping work). Yes, these Teddy 

Bears ! Pooh — (comes back) it's nonsense — A child's a 

child — and a doll — well — is a doll ! 

[Crosses left. 
FRAU BUDEL. I know, but, Abraham, it's all the more reason 

why you should not give away your dolls, but try and save 

your money. It's a warning to you ! 
TOYMAKER. Ycs, Emma! 



The Toymaker of Nuremberg 273 

FRAU BUDEL. This is our wedding-day, Abraham. {She sits. 

To him) We've been married all these years — all these 

years — and if we had saved our money we wouldn't have 

been so poor now, nor would you have to work on a salary 

for this American firm. 
TOYMAKER. Yes, I'm a spendthrift. 
FRAU BUDEL. And there's our son David, — you don't want 

him to run away, as our first boy — Adolph, — did — do you? 
TOYMAKER. No! Adolph — how long has he been away 

now? 
FRAU BUDEL. Twenty years! Our first boy — Oh, Abraham, 

not a line, not a letter for such a long time! 
TOYMAKER {consoUnghj patting her shoulder). Only four years 

ago, Emma! He was in — was in — was in — oh, yes — 

Col-o-rado S — Sprinks! 
FRAU BUDEL. I Only ask you — dear Abraham — to be care- 
ful — be a little more selfish — think of yourself — and me — 

and David. The world is not what it was — it has grown so 

commercial — all is business now — and self! 
TOYMAKER {nodding). You're right, Emma, as you always are, 

my dear. I'll be selfish! Yes — I'll be selfish! 
FRAU BUDEL {putting her cheek to his heart). Please — oh, 

please try, my dear boy! {To him, with her hand on his 

shoulder) Now! 
TOYMAKER. I wiU — all will be for self — all will be business 

now! 
FRAU BUDEL (feeling his coat where her face rested). Why, what 

is this you've got in your pocket, Abraham? 
TOYMAKER. Eh? {Feels his breast-pocket for a moment, then, 

vrith excitement coming into his face) Ach! I almost forgot! 

Oh, my goodness — I almost forgot — {Brings out a little 

jewel-case and opens it; puts the box on the table; it contains a 

simple gold bracelet. He holds it up) See — see, my Emma — 

{she backs away a little) my wedding present. 

FRAU BUDEL. What? 

TOYMAKER {proudly) . A diamond! 
[Leaning on chair. Eyes down. 



274 A Treasury of Plays for Children 

FRAU BUDEL (weeping and laughing). Oh, Abraham, what shall 
I do with you! 

TOYMAKER (chUdishly) . I don't know, Emma, I don't know! 
See — it is a little fellow — but he is there all the same! 

FRAU BUDEL. Oh, Abraham! 

TOYMAKER. And sec. {Holds it up. Goes to her) I have 
had it written here — inside — here — I hold it so — so ! 
There — see — (Tenderness coming into his voice as he reads) 
"Love is my wealth" — Can you see it? 
[She tries to read, but cannot for tears, and takes up his hand 
and kisses it with a sob. 

FRAU BUDEL. My dear boy — my dear boy ! 

TOYMAKER (holding her tightly). "Love is my wealth." Now 
let me put it on — so ! (She holds up her hand, and he is 
putting it on when there is a heavy, military knock at the door. 
They rise, still holding hands like embarrassed children. Guil- 
tily) We are caught — Emma! (A shy pause) Come in! 
(Enter the Sergeant and the Poet. The Sergeant carries a hand- 
mirror in a paper parcel, and the Poet an enormous bouquet of 
flowers) We are caught! — Ah, Sergeant Strumpf — Ah, 
Stauffenbach ! 

THE SERGEANT. We saw youi boy just now, studying the 
twilight. 

POET (brushes Sergeant aside). Hush! (Crosses to centre) 
Madam, we two old fellows come to congratulate the bride! 

FRAU BUDEL (deprecatingly) . A bride! A forty years old 
bride — oh ! 

THE SERGEANT (crossly). The bride, Madam! — and we have 
brought you a token of our deep affection — and (To her. 
Quickly giving her the hand-mirror) — and — you have al- 
ways been a nice girl, Emma! 

FRAU BUDEL (Budcl eucouragcs the Poet to begin). Oh, thank 
you, Jonathan! 

POET (Coming down left. Emma hides mirror. Histrionically). 
In all the course of my political career as a poet, I have never 
been so moved as in this present festive and triumphal 
occasion. I remember — years ago 



The Toymaher of Nuremberg 275 

BUDEL. Emma! ! 

SERGEANT {gruffly). Halt! No memories! 

POET {Budel 'pacifies him). Pshaw! You have spoilt my 
speech now! Sergeant Strumpf! {Sergeant goes wp) Emma 
— your old friend loves you like a brother, and he gives you 
these poor flowers with the hope {Sergeant laughs) — ■ with 
the hope 

BUDEL. Ha — ha 

POET. with the hope. {Giving it up and gaily) Come, 

Jonathan, we kiss the bride! 

{Then hisses her hand. Sergeant pushes him aside — and 

hisses her on the cheek. Emma puts things on chair. 

TOYiviAKER. Dear — dear old fellows — the two presents ! 
{Crosses to Emma. Quichly) Emma, bring our presents! 
[She brings bach bouquet and mirror first. 

BUDEL. No ! No ! Our presents ! 

[Laugh bettveen Emma and Budel, as she hands presents. She 
brings a cane and a picture. 

TOYMAKER. This caue for you, old Poet, friend, see — it 
is tall and has a tassel. You can make fine attitudes 
with it! 
[Hands cane. 

POET. Oh, I've dreamt of a cane like this — {Emma puts pic- 
ture behind her bach. Brings cane up and nearly strikes 
Sergeant with it; steps back) — how did you know I wanted it, 
Abraham? 

TOYMAKER. Have I not known you for forty years ! And you, 
my old friend, Sergeant Strumpf — you who have fought in 
a hundred battles and been covered in glory — you who have 
more medals than most generals! I have for you a picture 
of your old commander — that man who was called "The 
Silent in Seven Languages". 

[The Toymaher puts the picture on the mantel-piece. The old 
Soldier hobbles up to it, lifts up the patch over his eye and looks 
at it a long time in silence, — then salutes it, — and turns in a 
broken voice to the Toymaher. 

SERGEANT. That — that was kind of you, Abraham! {A 



276 A Treasury of Plays for Children 

'pause as he stares at the picture) When my brother died — ■ 

he — • (Points tremblingly at the picture) He wrote me ! 

[All talk at once to cover his weakness, when a bell is heard. 

Frau Budel runs to the urindow and looks down into the street. 
FRAU BUDEL. It's Herr Kronfeldt, your employer, — he's 

coming to see you on business. 
TOYMAKER. Please all of you leave me with him. (Sergeant 

takes picture) Please — only a moment. Emma — take 

them into the other room and open that Bocksburtel bottle, 

— the one with the red wax, on the lower shelf ! 

[She starts. Sergeant crosses stage, followed by Poet. 
FRAU BUDEL. Oh, Can't I stay, Abraham? [Stops. 
TOYMAKER. No, please, I have something to say to him. It's 

all business now — all business. (A knock at the door. Frau 

Budel, with the two Men, exits) Come in! 

[Enter Herr Kronfeldt, a fat, pale-faced, fair-haired man. He 

is dressed in a tall hat and frock coat, and carries a huge brown 

paper parcel, tied with string. 
KRONFELDT (standing in the doorway and mopping his head 

with a silk handkerchief) . Phew! Those stairs! [Puts parcel 

down. 
TOYMAKER. Come in, Herr Kronfeldt ! 
KRONFELDT. No, I've Only come for a minute. Budel, have 

you changed your mind.^* 
TOYMAKER. No, sir! 
KRONFELDT. I'm sorry, for then I'll have to cut your wages 

down one half ! 
TOYMAKER (nodding). Yes, sir! 
KRONFELDT. It's your own fault, Budel, — you should try and 

keep up with the times. I tell you, dolls have gone out of 

fashion in Kansas City; the children like these bears better! 
TOYMAKER. Yes — the " Teddy Bears ! " 
KRONFELDT (pompously). Ycs — the "Teddy Bears"! I want 

you to give up making your dolls — which I admit are the 

best there are — and make these bears now ! 
TOYMAKER. Please — I can't — I am sorry — but my life is 

with my dolls. My father — and his father, and his father 



The Toy maker of Nuremberg 277 

before him, have always made these dolls. (Holds one up) 
It's not human nature, Herr Kronfeldt, to change now, and 
make these bears ! No ! I can't do it — I can't do it ! 

KKONFELDT (kindly). I know It's hard, but I only want you 
to try, Budel. I want you to try. You have been our best 
worker, and I don't want to lose you ! Here — I have 
(begins to untie the parcel) brought one of these fur bears — 
these Teddy Bears — for you to work from. (Produces a 
large, white, grinning bear, and holds it up) There — isn't 
it a beauty? 

TOYMAKER. No, Sir. (Budel puts on his glasses) I can't see 
any beauty in it compared to a doll. There is no scope for 
art. (Kronfeldt loivers the bear) I can't do it. 

KRONFELDT. The man in America has made a fortune out of 
these bears. (Budel shakes his head in a dazed way) They 
call him over there the "Teddy Bear King!" 
[Holds bear up. 

TOYMAKER. " The Teddy Bear King ! " 

KRONFELDT (puts it on shelf). Yes, that's it. Well, now I'll 
leave it (points to bear) with you — perhaps you'll change your 
mind. If you don't — remember — I'll have to cut your wages ! 

TOYMAKER. Ycs, sir! 

KRONFELDT. Good-evcning ! 

TOYMAKER. Good-uight, sir ! — Oh, how is Fraulein Hesta, 
your daughter? 

KRONFELDT. Well, I thank you, Budel. Again — good-night. 
Oh, I forgot to tell you about these bears, — you see the legs 
and arms are adjustable! So! 
[Works its arms and legs. 

TOYMAKER. Ycs, sir! 

KRONFELDT. Good-night ! 

TOYMAKER. Good-uight, sir! 

(Exit Kronfeldt. The Toy maker is left alone. He walks up to 
the bear on table. He stares at it, adjusting his spectacles and 
sitting down before it) You bad wild beast — (backs a step) 
— you come into this house like the wolf ! Is it my fault that 
children like my dolls no more — in that Kansas City ! So 



278 A Treasury of Plays for Children 

you are the devourer of my trade! No, I won't — you are 
bad — you are hideous — I won't make you! I'll have my 
wages cut. I am too proud to make — Teddy Bears! 
[Sits. Enter the Boy, timidly and noiselessly, at door. He tip- 
toes towards his father, showing, in every line of his figure and 
attitude, fear of his father's anger. The Toymaher mutters 
aloud at the Teddy Bear, which makes the Boy start. He 
finally goes up to his father and kneels beside him, yearningly. 
A pause. The Toymaker mutters to himself. 

THE BOY (in a frightened whisper) . Father ! 

TOYMAKER. "The Teddy Bear King" — is he! 

BOY. Father — listen to me! 

TOYMAKER. David — ah! (Then angry) These bears, David, 
these bears, they fill me with anger ! 

BOY (pleadingly). Father! 

TOYMAKER (lookiug at the Boy*s face) . My son — what has 
happened, — what is this look on your face.? 

BOY (weakly). Father! 

TOYMAKER. My SOU — my boy — what is this? 

BOY. Please, sir, Love has come into my heart ! 

TOYMAKER (gently). What! (The Toymaker turns completely 
around, awe and respect coming into his face) You mean — 
David — you love someone? 

TKE BOY (fearfully) . Yes — Father! 

TOYMAKER (putting his arm on the hoy's shoulder, in an awed 
voice). Do you reahze, my son, what you say! 

BOY (draws back). Yes, Father! I do. I did hope you would 
not be angry! 

TOYMAKER. Angry! Me! Why — David! It is like finding 
treasure in the sands ! My son — I have prayed for this ! 

HOY (with joy) . Oh, Father! 

TOYMAKER (swiugs Boy to his left, then rises). I rejoice — my 
son! Emma! Strumpf! Stauffenbach! Come — come in! 
Ah, this is wonderful — wonderful ! — and only a moment 
since I was sad and unhappy about bears; — but now I re- 
joice! God has been good! 
[Enter Emma and the others. 



The Toymaker of Nuremberg 279 

FRAU BUDEL. What — what is the matter? 
TOYMAKER. OuT son — our (lauglis happily) baby, here, has 
found his love lady! 

ALL THREE. What ! 

TOYMAKER {almost hopping with excitement). Yes — yes — yes! 
and we must have a feast ! Here — Strumpf — order at the 
caterer's — beer — icing cakes — all 1 Where is she — {to the 
Boy) I must call on her — you must help me dress ! My 
Sunday tie — the green coat with the brass buttons down 
here (points), I must make a good impression — as the father 
of the bridegroom ! 

FRAU BUDEL. But — Abraham — our son — he only paints eye- 
lashes on dolls ! 

TOYMAKER. Well — Madam! 
[Arms around the Boy. 

FRAU BUDEL. How Can he marry? He has no money, — he 
can't keep a wife on dolls' eyelashes! {Turns and steps to 
Poet and Sergeant) Dear Abraham, you must know that it 
is impossible for our son to marry! 

TOYMAKER. Impossible! — you tell me this? — when God has 
blessed us so! — and brought love into our home! Have you 
forgotten how we got married! You talk of painting eye- 
lashes ! Pshaw ! you and I got married on one mark — and 
look at us now 

FRAU BUDEL. Abraham! 

TOYMAKER. What has brought us here — step by step — stone 
by stone? Emma, this miracle of love ! Love! You talk — 
everyone talks — of the world getting hard — cold business — 
all for self! Do you think I could have sat at that table 
there — (points) day in and day out — working — and work- 
ing — till my back is bent out of shape and my fingers 
crooked — for self? No — love for you, my Emma (goes 
to her), did it, love will always do it! — and yet, you 
come to me and talk of his not getting married because 
he paints eyelashes on dolls and has no money! Shame! 
Shame ! 

FRAU BUDEL (weeping). Abraham! 



280 A Treasury of Plays for Children 

TOYMAKER. No — I am cross. (Rises) I appeal to my old 

friends here! Strumpf — do you believe in this love? 
SERGEANT (gruffly). I'll tell you how much I believe in love — 

I won these honours for a girl. She wouldn't have me. I'd 

give all — everything for one day of my youth. 
TOYMAKER (going and putting his hand on the Sergeant's shoulder). 

Old friend ! (A pause) And you, my poet friend — do you 

believe in this love? 

[Sergeant sits down. Toymaker steps to the Poet. 
POET (proudly and slowly). It has made me the man I am! 

[Sweeps up to bench and sits. 
TOYMAKER. There! You see! (Then gaily) Emma — quick — 

I must go out at once and meet her. Come — and get my 

clothes for me ! (A pause) Gott in Himmel ! — I forgot to 

ask, — who is the girl, David? 
BOY. Fraulein Hesta Kronf eldt ! 

[Rises. 
TOYMAKER (pleased). What! My employer's daughter! 
BOY. Yes, Father! 
TOYMAKER. Ah, Kroufcldt will indeed be pleased! He has 

always liked David. Come — I must go! (Frau Budel exits. 

Shyly) Listen, David — (The Boy crosses to him) You go 

on, and tell Fraulein Hesta your old father's coming to 

see her! 
BOY. Bring Nebuchadnezzar — she wants to see him, too. 
TOYMAKER. She does? — There — didn't I tell you she was a 

nice girl! She likes dogs! 

[Exit. As the Boy goes towards the door, the Sergeant speaks 

to him. 
SERGEANT. Good luck — my boy! 
POET. Good luck! 
BOY. Thank you, sir 

[Exit. The Sergeant and Poet are left alone. There is silence 

as they simultaneously take out their pipes, and fill and light 

them. 
POET (after a pause). Well, sir! 
BERGEAi<!T (with a grunt). Umph! [They turn together. 



The Toy maker of Nuremberg 281 

POET. I'm afraid the girl's father won't be so enthusiastic as 

we are! 
SERGEANT. Kronfcldt won't hear of it! David has nothing! 
POET. Neither have we ! 
SERGEANT (smokiiig) . Neither have we ! 
POET. You are the soldier — you have been taught to plan and 

attack. Now, what can we do to help Abraham and these 

young people.'* 
SERGEANT. Let me think. (Pause, as both smoke in silence) 

Ah! 
POET. What.? 

SERGEANT. I might kill Kronfeldt. [A pause. 
POET. The idea is good — but — diplomacy is better! 
SERGEANT (turus to kim) . You think so? 
POET (turns). Yes — I think so! 
SERGEANT. Ah! (They both become lost in thought again, smok- 

ing silently. A timid knock is heard at the door. Gruffly) 

Come in! (Enter Paid, who stands breathless. Sharply) 

Well, sir.? 
PAUL. Please — please — has David been here? 
SERGEANT. Yes — he's gone. 
PAUL. Oh ! 

[Hesitating. 
SERGEANT. Well, sir? 

PAUL. Ple-ase — do you know if David told his father any- 
thing? I've come to hear how Herr Budel took it! 
POET. All is well. Abraham was well pleased, and so are we! 

Abraham goes now to see Herr Kronfeldt. 

favIj (awestruck). Ah! — But 

SERGEANT. Well, sir? 

PAUL. I don't think Herr Kronfeldt will like it — he is a very 

ferocious man! • 

POET (rises). That's just what we've been saying, my boy! 

Have you any idea of what we can do to help them? [Turns 

to Paul. 
PAUL (dolefidly). No, sir. (He speaks wisely. Both men look 

at each other) I don't know what to do. 



282. A Treasury of Plays for Children 

POET. We can't have Abraham's heart broken. 

PAUL. No, sir. 

POET. Nor the young people's, either! What can we do? 

PAUL {as the Poet turns to him). Please, sir {talces out a booh), 

I read in this book — about a young couple, who were almost 

the same as David and Fraulein Hesta! 
SERGEANT. Well, sir! {Paul turns to him) What did they do? 
PAUL {to Sergeant). They eloped, sir! 
SERGEANT. Eloped ! 
POET {steps down). Eloped! {Paul looks at Poet) It's against 

our law — but the fathers generally come round — once it's 

done! 
SERGEANT. Youug man — you will be a general! 
PAUL. Yes, sir! 
SERGEANT. Your idea is a brilliant one — {To Poet) Abraham 

would like nothing better. It's what he calls "romantic," 

eh? 
POET. Yes, it's beautiful! It could be arranged for next week 

some time. 
SERGEANT {banging the table). To-night, sir! 
PAUL {to Sergeant) . But — sir ! 

POET, But 

SERGEANT {Bangs the table. Paul retires a little — scared. With 

a roar). To-night! I'm a soldier — and I've learned one 

thing. In a plan of action — act at once! 
POET {puts cane down). But it's too sudden — the young people 

are not ready ! It's too quick! 
SERGEANT. Silence! No broken reeds here! How does one 

elope, my poet friend? 
POET {puzzled). How does one elope? 
PAUL {as the Poet turns on him) . Please, sir, in the books they 

always elope in a coach and six! 
SERGEANT. Well, We'll make it a coach and one. {Rises) 

We'll go and hire it at once ! In an hour's time ! 
POET {as the Sergeant turns to him). I protest — it's too sudden. 

Sergeant Strumpf . The young girl will surely object 

SERGEANT. Bah! — you're a fool! 



The Toy maker of Nuremberg 283 

POET. A fool, sir! 

SERGEANT. Can't you see if the girl Is afraid to elope, then 
she Is not worth the boy's love — and we are well rid 
of her? 

POET {in admiration). You are right, you old war fox! 

SERGEANT. Come, let us go hire the wagon — and then go to 
Kronfeldt's while Abraham is there. 
[Going toward the door. 

POET. Wait — a coach and one costs money! [Puts his cane 
down. 

SERGEANT. Good Gott — we are done for at the start ! 

POET. No, — no, we are not — here is this watch. {Looks up 
and kisses watch, — a gold one ivhich he takes out and puts on 
the table) It belonged to Schiller! It's gold — that will pay 
for the coach — and perhaps a little more left over. I'm 
afraid that's all I have — of material value — [Puts it on the 
table. 

SERGEANT. They must have some more money besides paying 
for the coach ! I'm afraid I have nothing — er — er — ^with 
me! {Scratches his head; then sees his medals) These things 
{points to them) — they might bring something! 

POET. Oh, no —^' not those! Please — we have enough now, 
I'm sure! 

SERGEANT {unpinning them one by one) . This one — I won 
at Sedan. — This at Sadova — and this — and this — {Piits 
them in a heap with the watch) And this, I wanted it here on 
my breast in the grave. — I think I keep it. Bah ! What are 
such fleeting honours to a boy's happiness! {Poet sighs) 
Lead us, boy, to the pawn-shop on the corner. 
[The two exeunt solemnly, arm in arm, Paul going first. Then 
there is a pause. The Toymaker enters with his wife and the 
dog. He is dressed in a light green coat, — a faded yellow 
waistcoat, a flaming red tie, white trousers, tight fitting and show- 
ing his ankles, and blue and white striped socks. His feet are 
in gaudy carpet slippers. He carries an enormous buff-coloured 
top hat, with a brorcn band. A huge red silk handkerchief 
hangs out of his coat tails. His wife follows him with his shoes. 



284 A Treasury of Plays for Children 

— little black ones, lined with white. She also carries a pink 
ribbon. 

TOYMAKER. There — how do I look — {Emma kneels to dog, 
swings round) I'll make an impression — yes? Emma — 
you think I please as the father of the bridegroom? 

FRAU BUDEL (tying a large pink bow on the dog^s collar). No 
woman could resist you, Abraham. {Picking flowers off 
chair) Here — take this bouquet the poet gave me 

TOYMAKER. Oh, uo — that is for you — it is yours 

FRAU BUDEL. Nonseuse — Heinrich wouldn't mind its being 
used for such a good cause. You see, he'll make two people 
happy — kill two birds with one bouquet ! 

TOYMAKER {taking it) . Yes — the idea is good. It will please 
her! 

FRAU BUDEL. Now, good-bye — and good luck to you both ! 
{Budel watches her. He kisses her. She turns, sees shoes, and 
picks them up. He holds her a moment, ivistfidly. Then she, 
with the same wistfulness, speaks) He must have — he was so 
full of romance! That is why he wanted to go to America 
to seek his fortune! Oh, why did you let him go — Abraham! 

TOYMAKER. I could uot keep him here to be unhappy • 

FRAU BUDEL. Oh, Ict's pray she is a swcct girl, Abraham ! I've 
seen her in church and in the street — once or twice — but 
never to speak to. She seems a nice girl. {A sudden crash 
of broken china is heard without) Oh, what have you broken 
now, Minna? 

MINNA {shrilly) . Please — Frau Budel — the yellow dish ! 

FRAU BUDEL. The ycllow dish ! — Oh, I must go — the yellow 
dish. Abraham! {Hurriedly kissing him) Good-bye! Now 
here are the yellow dishes — don't forget them, and go call 
on the young lady in your carpet slippers ! 

TOYMAKER {childishly). No, Emma — good-bye. 

FRAU BUDEL {as shc gocs off) . The yellow dish — the yellow 
dish, 

[Exits. The Toymaker is left alone. He puts on his hat, takes 
his cane, holds the dog by the lead, and carries the enormous 
bouquet. He also carries his shoes carefully in his right hand. 



The Toy maker of Nuremberg 285 

He vnlks absent-mindedly toward the door, hesitates, as he sees 
the Teddy Bear, and halts in front of it. He looks wistfully at 
it for some time. Then, in a slightly nervous and abashed 
voice, he speaks. 
TOYMAKER. What I Said to you in anger a few minutes ago — 
I am sorry for! I didn't mean you — personally, Teddy 
Bear! (A pause as he looks at it) Please — I didn't mean to 
hurt your feelings ! 

[He turns and goes slowly and absent-mindedly out in his carpet 
slippers, loheezing his little tune; leading his dog; the bouquet 
in his left hand and carefully carrying his shoes in his right. 
As he goes the bells peal out and the curtain falls on a burst of 
chimes and music. 

END OF ACT I. 



ACT II 

Inside the Walled Garden. Kronfeldfs house. Moonlight. 
The stage is enclosed by the wall at left and rear. An old wooden 
door is in the wall. Over wall, the housetops are seen of the 
ancient city of Nuremberg, — church spires and quaint mis- 
shapened chimneys — all half-silhouetted by a full moon. At 
right is Kronfeldfs house, with entrance, — three steps curved, — 
leading to the main door. The lower windows are lighted. A 
table is set for dinner, with a lamp burning on it. 

The Girl is disclosed, finishing her dinner alone in the garden. 
Lena, the fat cook, is removing the dishes and taking them into 
the house. The garden is full of flowers, the wall covered in vines, 
and the trees meet overhead — giving a comfortable, sheltered ap- 
pearance to the scene. Lena goes off with dishes and returns. 
THE GIRL. When will my father be back — Lena? 
THE COOK. He dines with the Burgomaster; he will be back 

early, Fraulein Hesta! 

[About to light lamp. 
THE GIRL. No, don't take in the lamp, Lena — please leave it. 

I'll wait out here for him; it is so hot in the house. 



286 A Treasury of Plays for Children 

THE COOK. But here — it is so lonesome, Fraulein Hesta! 
Are you not afraid? 
[Song begins. 

THE GIRL. Oh no, why should I be? It is so peaceful here! 
(sighs deeply) and — and wonderful ! (Picks up her sewing 
and works in silence, as Lena clears away the things on the 
the table, taking them into the house and returning. On her 
return the Girl looks shyly up at her, and asks in a low voice) 
What more do you know of the Toy maker, Lena? 

THE COOK. What, still the Toymaker, Fraulein Hesta! 

THE GIRL. Yes, I am interested in him, Lena ! 

THE COOK (takes things). I have told you everything I know 
of him twice over; stop — I forgot about his son, Adolf ! 

THE GIRL (puzzled). His son Adolf? 

THE COOK. Yes, he has two sons — one Adolf and one David. 

THE GIRL (shyly). Yes — David. (Interestedly) Yes, Lena! 

THE COOK (explaining with a spoon). Well, the boy Adolf — 
pah — it is twenty years or more — he was a wild boy, and 
wanted to go to America. His father, the Toymaker, in- 
stead of giving him a whipping and keeping him at home, 
like a fool went and paid his passage over there, and sent him off. 

THE GIRL. Where is he now, Lena? 

THE COOK. Somewhere there; he writes once in four or five 
years. That's what I call an ungrateful son! It serves 
Abraham Budel right — children are never grateful. 

THE GIRL (timidly). And — and David — Lena? 

THE COOK (in disgust). What, the younger one — pah! He 
is a fool — always playing on his flute. His mind is just 
like his father's — always in the clouds ! 

THE GIRL (thoughtfully). Oh! 

THE COOK. Yes, he paints the eyelashes on the dolls! 

THE GIRL. Oh! 

THE COOK. I leave you now, Fraulein Hesta. I'll be in the 
kitchen. Ring the bell if you want me. Your father will 
be home before I've finished the dishes. 

THE GIRL. Thank you, Lena! 

[Exit the Cook heavily. A long silence. Music low and ex- 



The Toymaker of Nuremberg 287 

pedant. The Girl lets the sewing drop into her lap as she 
stares in front of her. Sighs and then takes up her sewing 
again, and works quietly. A church bell is heard ringing 
eight o'clock in the old city beyond. Then the tramp, tramp, 
of soldiers on the other side of the wall. Gruff orders are heard 
of changing the guard, same as in Scene I, of Act I. The Cook 
hobbles out from the house with a shawl, which she puts on the 
GirVs shoulders. 

THE COOK. I thought you might need this, — the night air is 
chilly! 

THE GIRL. Thank you, Lena! 

THE COOK (crossing to hoise, stopping and looking up at the moon 
and taking a deep breath). What a beautiful summer night 
it is, Fraulein Hesta! 

THE GIRL. It's wonderful — one can hear the world's heart 
beat on nights like these! 

THE COOK {staring at her across the lamp). What a funny thing 
to say! Fraulein Hesta, the world has no heart. 

THE GIRL {timidly). Hasn't it? 

THE COOK. No — of course not! {Two notes on chimes. The 
Girl smiles) The world has no heart. 

[Exits in the house. A pause. The Girl continues to sew 
quietly; then faintly in the distance a flute is heard playing the 
little love air of David's. It stops. The Girl rises, drops her 
sewing, and listens, panting with excitement, both hands on 
her heart. She listens intently — it begins again. She runs 
to the door of the house and listens, — then softly shuts it — 
and runs to a climbing rose-bush, plucks a red rose, and waits 
at the foot of wall. The ladder is seen leaning against it. 
The flute comes nearer and nearer, and then halts, outside the 
wall. The Girl throws the rose over; the playing stops and 
then the Boy is seen clambering up; with breathless effort he 
succeeds, after a struggle, in getting one leg and arm over; then 
he smiles at her excitedly — breathless and embarrassed. 

THE GIRL. Oh — take care, you'll hurt yourself! 

THE BOY {smiling excitedly and panting). No — I'm used to it. 

THE GIRL. Oh! 



288 A Treasury of Plays for Children 

THE BOY. Please — my father's coming! 

THE GIRL. Oh, that is nice. 

THE BOY. Is your father here? 

THE GIRL. No — David — he has gone to dine with the 

Burgomaster. He'll be back soon. 
THE BOY {still panting). Oh! (Gives another clutch at the wall 

as he feels himself slipping) You — you will like my 

father! 
THE GIRL. I am sure I will ! But won't you come inside and 

wait? 
THE BOY (struggling with his hold and overcome with shyness at 

the same time). Oh, no — please — I'll stay here! 
THE GIRL. Oh — please — come in. 
THE BOY (climbing on the top of the wall and sitting on it, his 

legs dangling in front). I'll sit on the wall here. 
THE GIRL. But it is not comfortable for you there! 
THE BOY. Oh, yes — please — it's very comfortable. (The 

Girl goes hack to her sewing and begins to sew in silence. The 

Boy swings his legs and regards her. Still embarrassed. Out 

of breath — panting) Do — do you like the moonlight? 
THE GIRL (in a low voice). Oh, yes. 
THE BOY (still puffing). What did you say? 
THE GIRL. I said — oh, yes ! 
THE BOY. Oh ! (Another pause) So do I. 
THE GIRL (shyly). Oh! 
THE BOY (anxiously). What did you say? 
THE GIRL. I — I said " oh " ! 
THE BOY (smiles). Oh! 

[Climbs down the wall and, trembling, goes and stands in front 

of her. 
THE GIRL (drops her sewing and looks up at him). Oh! 
THE BOY (with deep tenderness). Do you like to sew? 
THE GIRL (hardly audible). Yes — very much. 

[An awkward pause. 
THE BOY. I — I told my father! 

[A step to her. 
THE GIRL (frightened). Oh — what did he say? 



The Toy maker of Nuremberg 289 

THE BOY. He was glad — Hes — Hesta ! 

THE GIRL {sewing diligently). I'm glad — David! 

THE BOY {goes to her at end of table). I think — I think you are 

the nicest girl in Nuremberg. 
THE GIRL. I think — you are the nicest boy. 

THE BOY {moves to her). Oh — you do ! 

THE GIRL. Ye-es — David. 

[He takes her hand. She makes a movement to draw it away. 
THE BOY. Please — don't — oh, please don't! 

[Holds it. They remain so for a moment. 
THE GIRL. When did you first — first like me, David.? 
THE BOY {tenderly). Oh — for years — and years — and years! 
THE GIRL {puts basket doivn). You've always liked me? 
THE BOY {very tenderly). Always! Always! But it is not 

"like" at all — Hesta — it is love. 
THE GIRL {frightened). Love! 

[Takes her hand away. 
THE BOY {drawing away) . Oh, yes — it is love — it is love, — 

it hurts me so! 
THE GIRL. Oh, I am frightened! You are saying something 

very — very serious ! I am frightened ! 
THE BOY. So am I. It is serious — Hesta, it is ! 
THE GIRL {shivering). Oh, I am frightened, David! 
THE BOY. Let me hold you close — in my arms — so! {Takes 

her gently in his arms) Please — you cannot be frightened 

now! Are you.'' {The Girl says nothing, but quietly clings to 

him and bursts into tears) Don't cry — please don't cry! I 

wouldn't have you cry! I mustn't have you cry. Oh no! 

[Shakes his head enquiringly at her. 
THE GIRL {tearfully). David — I am frightened because — be- 
cause — it is so serious — and solemn — and you are so — 

so kind! 
THE BOY. May I kiss you, my Hesta? 
THE GIRL {drying her eyes and holding up her face tearfully and 

childishly) . Please — yes ! 

[The Boy kisses her lightly; then she rises and they stand away 

from each other and regard each other in awe. 



£90 A Treasury of Plays for Children 

THE BOY {holding out his arms, vnth deep feeling in his voice). 

Come! 

[She goes quietly to him and puts her head on his shoulder. 

They stand so in silence, both very moved and tender. Then a 

timid knock is heard on the gate. 
DAVID. Someone's knocking. 

THE GIRL (standing away from him). It is my father, David. 
DAVID {running and looking through the little grate) . No — it is 

mine! 
THE GIRL. Wait a minute. {She runs up above, around to 

table, picks up her work-basket and sits) Show him in, 

David. 
THE BOY. All right! {She goes to her seat and picks up her 

sewing as the Boy unbolts and opens the gate. Quietly) Come 

in. Father! 

[In walks the Toymaker, leading the dog, carrying a huge 

bouquet in his left hand and his shoes in his right. He is still 

in his carpet slippers. Boy closes gate, comes back. 
TOYMAKER {smiUng absently at his son). Here I am — David. 
THE BOY {nervously looking from his carpet slippers to his shoes 

in his hand) Ye-es, Father! 
TOYMAKER. Please — where is she.'' 

[Girl watches over her shoulder and laughs through the scene. 
THE BOY {in a whisper) . She is here. Father — but your feet — 

Father! 
TOYMAKER {looking at his feet — absently). My feet — David? 
THE BOY. You've forgot to put on your shoes; you've got on 

your carpet slippers! 
TOYMAKER {gazing at his feet). Oh! {Holds up his shoes to 

David) See! And Emma told me I would! Please stand 

in front of me — so — hide me — here — hold Nebuchad- 
nezzar ! These flowers — so ! {Sits down on the ground) I 

change ! 
THE BOY {holding dog and bouquet, and hiding his father from 

the girl). Be quick, Father. 
TOYMAKER {Working hard. Simply). Yes — David — yes! I 

am quick ! — Hide me ! There — so ! {He gets his shoes on. 



The Toy maker of Nuremberg 291 

rises, puts slippers under chair, takes back his dog and the 

bouquet) Now — so — take me to her ! 

[Girl becomes serious. 
THE BOY (leading his father to her). Fraulein Hesta! (The 

Girl rises, putting aside her sewing) Let me present to you 

— my father — Herr Abraham Budel! The Toymaker! 

[She curtsies loio. He bows with an old-ivorld grace. 
TOYMAKER (fiercely whispering, nodding at the dog he is carry- 
ing). Now him! 
THE BOY. And Nebuchadnezzar — our dog! 

[Budel bows. 
THE GIRL. Eh! 
THE TOYMAKER. Youug lady — please, these flowers 

[Holds them out to her. 
THE GIRL. Thank you — Herr Budel. 

[She takes them. ' 

TOYMAKER. Your mother's 

THE BOY. Ah 

[Relieved. An embarrassed pause, as all look on the ground. 
THE GIRL. Please, Herr Budel, won't you sit down? 
TOYMAKER. Sit down.f^ 
THE GIRL. My father will be here soon! 
TOYMAKER. Thank you! (Gives dog to Boy, who exits vnth 

him. Sits down beside the table, near the lamp which lights 

up the little group. Very nervous, and giving her a shy look; 

then smiling at her) Please, I am scared. 

[Watches Boy take dog off. 
THE GIRL (startled). Oh, please — don't be! 
TOYMAKER (smiling). You young people have such fine modern 

education! I suppose you know a great deal! History! 

Geography! (smiling) and insides of pollywoggles — yes? 
THE GIRL (laughing) . I ought to know — but I am so 

stupid. " 

TOYMAKER (shaking his head and smiling at her; then holding 

out his hand, tenderly). Come! (She rises, goes to him and 

kneels beside him. He shrinks. David enters) And you, 

David. (The Boy goes to him, on the other side. A pause. 



292 A Treasury of Plays for Children 

He continues with emotion in his voice) Please — I cannot 
tell much — my heart is so — so full. ( Then in a gentle and 
grave whisper) Fraulein Hesta — is it really true — you 
love my son? 

THE GIRL {holding up her head — and looking at him, tearfully) . 
Oh, yes — please ! 

TOYMAKER (turning to his son). And you, David — you love 
this girl? 

THE BOY. Yes, Father! 

TOYMAKER (to the Girl). Are you frightened? 

BOTH (nodding). Oh, yes — so much! 

TOYMAKER. So was I ! It is such a mystery — so silent ! No 
one knows how or where it comes. 

THE GIRL. Love is so wonderful, sir! 

TOYMAKER (nodding his head). Yes, love is — but it will not 
go on by itself. Oh, my children, for this reason so many 
hearts have been broken. You cannot — you must not 
neglect love — it is a very fragile and delicate thing. We 
must keep him shining bright and alive in the home — or 
he will fly away — oh, so easily ! And smile much. Oh, I 
believe so, in smiling much — keeps the doctors away. K 
sadness comes — and Fate seems hard — and she is often 
so! — put a smile on your face. (Smiles) Inside, you may 
feel more like weeping — but never mind — keep the smile 
so, and gradually — before you know — the smile has grown 
into your heart, and kindness comes ; — then take a deep 
breath — presto ! The sky is cleared and all comes right. 
All comes right! 

THE GIRL (entranced). Oh, go on — go on! 

TOYMAKER. You will find what I am saying is true — when 
you are married! 

THE GIRL (in terror). Married! 
[Boy back a step. 

TOYMAKER. YcS ! 

THE GIRL (rises). We never thought of that! 

[The Boy stands back, and they stare at one another in dread. 
TOYMAKER (gently) . Of course not ! (Regards them; — then 



The Toymaker of Nuremberg 293 

emotion comes into his voice) Oh ! (Sighs) Bless me — I 

felt that way over forty years ago! 

[Wipes his eyes. 
THE GIRL. But marriage — why, it is such a serious thing, — 

sir! 
THE BOY. Oh, yes! 

THE GIRL. Do we have to get married? 
THE BOY. Yes, Father — do we? 
TOY]viAKER (smiling). Gott in Himmel — don't you want to 

be together the rest of your lives? 
BOTH. Oh, yes — please! 
TOYMAKER. When people really are in love — mind you, really 

in love — they are married ! 
THE BOY. Oh! 
THE GIRL. Oh! 

TOYMAKER (sloioly). Fraulein Hesta, your father is a rich man; 

he has given you much comfort and care! Do you realize 

that my David here — is a poor fellow? 
THE GIRL. Yes, Herr Budel. 
TOYMAKER. Do you realize, too, that his father here — is a 

poor fellow too? 
THE GIRL. Yes, Herr Budel! 
TOYMAKER. David will never be a rich man; he is too much 

like his father — a spendthrift ! But he, too, will make toys 

— beautiful toys, and be a great artist. But listen, your 

lives will be full of hard work and hard pinches. 
THE GIRL. Yes, Herr Budel ! 
TOYMAKER. No coaches — not many parties or picnics — not 

much play or such things. You don't care? It doesn't 

matter? 
THE GIRL (kneeling again beside ike Toymaker, and taking 

David's hand across his knee). No — it doesn't matter. I 

love him, sir! 
TOYMAKER (vcry viovcd) . Are you quite sure, Fraulein Hesta? 
THE GIRL (simply). Oh, yes! 
TOYMAKER (A deep note coming into his voice as he puts his arms 

about the two. The Boy kneels, too). Please — please come 



294 A Treasury of Plays for Children 

closer. Now I bless you! (The two lovers bow their heads; he 
holds them close to him and bows his head over them, shutting 
his eyes. His voice trembling with emotion) Oh, God keep 
you always children, and let not your love grow up! 
[Pats their heads. A pause. A knock. They all three rise 
and regard each other. 

THE GIRL (terror-stricken). I think it is my father, Herr 
Budel. 

TOYMAKER. Good, — wc tell him ! 

THE GIRL (frightened). Oh! 

[Enter Lena in answer to the knock. Stares astonished at the 
two men. 

LENA. Herr Budel — David Budel — how did you get here! 

TOYMAKER (embarrassed) . Please — I! We! 

THE GIRL. I let them in — Lena. Herr Budel has come to 
see my father on business. 

LENA (suspiciously). I did not hear you come in! 

[Knock again. Lena goes slowly to the door with a backward 
look of reproach and distrust at them. She opens the gate. 
Enter Herr Kronfeldt, frock-coated, smiling and well fed; — 
with that contentment about him — born of a good dinner and 
a good pipe, which he is smoking. It is a long meerschaum. 
Lena closes gate. 

KRONFELDT (kindly). Ah, friend Budel! Come to tell me 
you've changed your mind about those Teddy Bears, eh? 

TOYMAKER (bowing and smiling). Please, sir, this is not busi- 
ness now — it is different ! 

KRONFELDT (puzzled). Different? (Then hospitably) Well, 
sit down first! Lena — bring some beer! (Seeing David) 
Ah, David! 
[Sits. The Girl sits on bench. 

THE BOY (bowing and smiling). Herr Kronfeldt! 

KRONFELDT (Sitting contentedly at table. Waves Budel to a chair). 
Sit down ! 

TOYMAKER (seating himself nervously). Thank you, sir! 

[Enter Lena with two glasses of beer on tray. Hesta takes it 
and serves it. The lovers remain standing, tremblingly listening. 



The Toymaker of Nuremberg 295 

KRONFELDT (pompousbj). Well — friend Budel — what is 
this? 

TOYMAKER. Sir, you know David here — you have known him 

since he was a little fellow, so high! 
KRONFELDT. Yes! Have some beer, Budel? 
TOYaiAKER. Thank you ! 
KRONFELDT (raising his glass). Prosit! 
TOYiviAKER. Prosit, sir! 

[They drink in silence. Exit Lena. 

KRONFELDT. Well ! 

TOYMAKER (David hows). You — you have always liked David 
— and been kind to him on Christmas and such times. 
[Puts glass hack. 

KRONFELDT (Zoofc* at David. Puzzled). Yes — David and I 
have always been good friends, I hope. 

THE BOY. Yes, sir! 

TOYMAKER. Well, sir, David is a boy no longer. 

KRONFELDT, So ! 

[Looks below Toymaker at David. Girl moves to end of bench. 
TOYMAKER. No, sir, he is a man! 

KRONFELDT. Well? 

TOYMAKER {slowly). Herr Kronfeldt — Love has come to my 
son! 

KRONFELDT. Yes. 

TOYMAKER. Yes, sir — and for Fraulein Hesta — your daugh- 
ter! 

[Looks at Hesta; she rises. 
KRONFELDT {smiling). Nonsense! 
TOYMAKER. It is true — {Kronfeldt turns back to Budel) Herr 

Kronfeldt — and his love is returned by Fraulein Hesta. 
^^o^m^iT: {stopping smili7ig). Stop — this is nonsense ! 
TOYMAKER {proudly). Look at them, sir! 

[Kronfeldt regards them both and then the Toymaker in a 

grave kind of wonder. 
TOYMAKER {rises). Herr Kronfeldt — you have known me and 

mine all these years. I come and honourably ask you to 

allow my son to marry your daughter! 



296 A Treasury of Plays for Children 

THE BOY (with dignity, stepping forward). Herr Kronfeldt, 
what my father is saying — indeed is true, sir! I love your 
daughter, sir — I will work hard for her, sir, — so hard, sir ! 

TOYMAKER. You See, sir! 

KRONFELDT (Smokes calmly. All three regard him with inten- 
sity. He speaks slowly and kindly). Friend Budel — you 
are a child — you have always been a child in the ways of 
the world. I cannot find it in my heart to be angry with you ! 

TOYMAKER. You talk of anger, sir, — when two people love 
each other, sir! 

KRONFELDT {laughing). My dear children — for you are noth- 
ing less, the three of you — this is all foolishness ! David is 
a good fellow, Budel, and I have always liked him! I 
wouldn't mind him in the least for a son-in-law. 
[Hesta runs to embrace him; stops. 

TOYMAKER (pleased). Ah! 

KRONFELDT. But, my dear Budel, he has no knowledge of the 
world — and business; he doesn't even know the value of 



money 



TOYMAKER. Money? I was afraid of this, sir. Please — let 
us have no money here. This is sacred, sir! 

KRONFELDT (Rising and kindly. Moves to house). Budel! 
Budel! You will always be a fool! (Patting his shoulder) 
But a good old fool! 
[Turns to go into the house. 

TOYMAKER (in agouy) . But — Herr Kronfeldt — when do we 
get married? 

KRONFELDT (turning sharply, his eye blazing). Married! (At 
steps. A pause). No, I will not lose my temper! Budel — 
I don't wish to hurt you nor your son! But all this talk of 
love and marriage is nonsense If you had any money on 
your side of the contract, I might listen to you; but believe 
me, my friend, I know more of the world and its ways than 
you do, and I will not have my daughter marry a man 
who only paints eyelashes on dolls! 

TOYMAKER. But you dou't Understand; — love is here, sir! 
[Points to the lovers. 



The Toymaker of Nuremberg 297 

KRONFELDT (oH steps). Do you think I want my daughter to 
marry into poverty, and slave all the rest of her life? I 
can't see how you have never learned some sense, Budel. 
God knows you've had a hard enough time of it, making 
both ends meet; and yet, here you are, cheerfully asking 
me to let my daughter enter into a life like yours. Do you 
want these two to suffer and grind as much as you and 
Frau Budel have? 

TOYMAKER. Suffered — I suffer! My life has been a beautiful 
one, sir! 

KRONFELDT. Budel, I don't want to hurt; I'd be the last 
man to want to hurt you — as I like and trust you ! But 
can't you see you come to me with an idea I cannot grasp? 
Listen, I refuse to give my daughter to your son — unless 
he can come to me with at least 5000 marks to start life with! 

TOYMAKER. Moucy — moucy — all money-talk ! Sir, it is 
blinding your eyes. God has. blessed us here, and you talk 
of money. I plead, sir, for these two young people! 

KRONFELDT. No! No! Our points of view are different. 

TOYiMAKER. They can never be poor with what they have! 

KRONFELDT (going towards the house, laughing) . All right ! All 
right ! Have it your own way, then — have it your own 
way! But I must refuse the honour. However, I'll show 
you I have no ill-feeling towards you, and that I trust my 
Hesta — your son — and yourself. I'll leave you here alone 
together to say farewell! (Steps to door) Good-night! 

TOYMAKER (Pleadingly. Crosses to steps). Sir — oh, sir! 

KRONFELDT. Good-uight ! 

[Goes into the house, shutting the door. A long pause as Budel, 
back to audience, stares at the closed door. He then turns 
slowly and regards the two frightened lovers. He beckons them 
both loith either hand; they come slowly to him, on either side. 
Then all three stand in front of table. He pats their hands 
tremblingly. 
TOYMAKER (taking a deep breath). Per — perhaps we smile, eh? 
(They all try to, but fail. A pause) It's difficult sometimes 
— but try hard — all will come right ! 



298 A Treasury of Plays for Children 

THE BOY. father, Herr Kronfeldt is right! I am too poor 
to marry Hesta! I must go out into the world and make 
my fortune! I'll go, as my brother, Adolf, did to America! 

TOYMAKER (tragically, in a low voice). Oh, no! Oh, no! Not 
that, David, not that! 

THE GIRL. Oh, please, must one always have money to marry 
with? 

TOYMAKER. Of course not. 

THE GIRL. What shall we do? 

THE BOY. I tell you. Father — Herr Kronfeldt is right. I'll 
go to America to-morrow — make a fortune and come back 
to you, Hesta. 

THE GIRL (wistfully). Can't you make a fortune here in Nu- 
remberg? 

TOYMAKER. No — not SO suddcu ! 

THE GIRL (weeping). It does seem so cruel! 

THE BOY. Yes, Father, it is cruel — isn't it? 

TOYMAKER. I tell you — we smile — eh? 
[Beckons them both to him. 

THE BOY. What are we to do now. Father? 

THE GIRL. Yes — Herr Budel — what are we to do? But 
please, don't let your son go to America, sir. 

THE BOY. But I must, Hcsta; there is no way else to win you! 

TOYMAKER. Comc — wc — think. 

[The three all sit on the bench, side by side and close together, 
and think hard. Some students are heard singing softly in the 
distance. Birds twitter overhead, and a bell rings the hour. 
Then a rattle and a bang of horses^ hoofs are heard outside the 
gate. The three rise and listen in terror, clutching hold of 
each other. The noise becomes fearful — clattering of hoofs, 
jingling of harness, and rumble of wheels. The Boy runs and 
opens gate. In bursts Paul, the old Sergeant, the old Poet, 
and a coachman, all panting and talking at once. 

PAUL (mad with suppressed excitement). David! David! 

SERGEANT. Halt! I am general here! (He hobbles up to 
Budel and salutes) Is this coast clear? 

TOYMAKER (dttzcd). Coast? What is this, Strumpf? 



The Toy maker of Nuremberg 299 

SERGEANT {cToss With excitement). Answer me — is Kronfeldt 

in the house? 

TOYMAKER. Yes — but ! 

SERGEANT (hobbles up to the lovers, panting). Here, you two 

people. You are in love ! {An embarrassed pause) Answer ! 
THE BOY. Yes, sir. 
SERGEANT. And the old fool in there {points to hov^e) has 

refused his consent? 
THE BOY. Unless I have money! 
SERGEANT. Well, you haven't any, have you? 
THE BOY. Alas — no, sir! 

TOYMAKER. But — Sergeant ■ 

SERGEANT {crossly). Shut up, Abraham! Listen, you two — 

{Lena at window with candle) — do you really want to get 

married? 
BOTH. Yes, please! 
SERGEANT {weeping in his excitement). Good! Well then! 

We have a coach and a horse here ! — and get inside 

BOY AND GIRL. Coach! 

SERGEANT. God bless you! 

ALL. What! 

SERGEANT. We'll all get in — dr' ve to St. Martins — marry 

you — and send you off to a quiet place I know of. 
THE BOY {joy coming into his voice) . You mean for us to elope, 

sir — run away? 
SERGEANT {quite overcome with emotion and excitement). Yes, 

sir — elope, sir — the coach is paid for — and here is enough 

money to last you till Kronfeldt's anger cools down ! God — 

God bless you, my boy and girl! 

[Goes up stage; so does Paul. 
POET {Weeping outright. Goes up) . God bless you ! 

[Lena gives gasps all through this conversation; now listens, 

breathing hard with rage. 
THE BOY. Oh, sir — Hesta — this is wonderful — will you? 
THE GIRL, Oh — my father — I couldn't ! 
SERGEANT {sharply). Do you love him? 

[Bangs David in the chest. 



300 A Treasury of Plays for Children 

THE GIRL. Oh, yes, sir! 
SERGEANT. Do you want to marry him? 
THE GIRL. Yes, please — but my father! 
SERGEANT. Father be damned! 

THE GIRL. Oh! 

[Sliocked. 
SERGEANT. You're not going to marry your father — are you.'' 
THE GIRL. No, sir! 
SERGEANT. Come, let us go before we are discovered! 

[Poet, Paul, and Coachman up. Sergeant, Boy, and Girl start 

up, round the table. Lena gives a cry, shuts the window and 

is heard running downstairs, within the house. 

TOYMAKER. Stop ! ! 

[All stop, astonished, and stare at him. 

SERGEANT {fiercely, his blood roused). What the devil ! 

TOYMAKER. I forbid this! He has trusted us here together; 
he has trusted his daughter to my keeping. I forbid this! 
[He goes up on a line with Sergeant. 

SERGEANT. Now this has got nothing to do with you, Abra- 
ham! This is my affair! 

TOYMAKER. No, it Can't be! It is not honourable to Kron- 
feldt. 

SERGEANT (dismayed). But I thought you would like this — 
Budel — it's so — so romantic! 

POET (from his place). It's a fine coach. 

COACHMAN (from his place, gruffly) . Yes, sir — and it's been 
used for eloping couples these twenty years ! 

SERGEANT. Won't you change your mind, Abraham? 

TOYMAKER. No — it is wrong! 

[Screams are heard within the house, and KronfeldCs roaring 
voice; — then the door bursts open. In rushes Lena and 
Kronfeldt, both panting, roaring and infuriated. Sergeant re- 
tires behind table and joins Poet, who comes down. David and 
Girl cross to back of cou^h. 

LENA. Here they are, sir — see the coach — and all! 

KRONFELDT (halting abruptly vnili a roar, on steps, Lena beside 
him). So! (Exeunt Paul and Coachman. To his daughter) 



The Toymaher of Nuremberg 301 

Come here ! {Lena exits. She goes to him) So that is how you 
are to be trusted, Herr x\braham Budel! You come into my 
house, hke a snake, and rob me, like a thief, of my daughter. 

ALL (except Budel). Sir, — it was our fault — not his. 

KRONFELDT (roaHng). Silence! 

THE GIRL. It was not his fault, Father! 

KRONFELDT (roaring). Silence! 
[Clutches her wrist tighter! 

THE GIRL. Oh, Father, you hurt me! 
[The Boy runs to her. 

KRONFELDT. Stand off — (The Boy retires) I'll have you 
all arrested. No, I won't! I know what I'll do! Herr 
Budel, I trusted you — now — now — I see you are a vil- 
lain! Now I understand your motives — because I was 
going to cut your wages for not making Teddy Bears — 
you try to have your son to marry into my family for my 
money, eh.'' — to save yourself! Ah! and you acted so inno- 
cent all the time — and I believed you. You double-face! 
You har! You sneak-thief! You child-robber! I don't 
want your dolls and toys any more! Get out of my place! 
(Back on steps) I can get plenty of people to make Teddy 
Bears for me; you are not the only one! Go! ! I dis- 
charge you from my employ. Get out of my place! (All 
gasp. To his daughter) Come, you! I have something to 
say to you — my lady — inside ! 

[Drags her roughly into the house, and slams the door to with 
a bang. The little Toymaher has been standing with his back to 
audience, and staring up at Kronfeldt — enquiringly. A long 
silence. Slowly turns front with an ashy face. The Sergeant 
and Poet come, with bowed heads, on either side of him. 

SERGEANT (brokenly). It was all our fault! 

POET (loeeping openly). Please — oh, friend! 

TOYMAKER (Stares at both of them, his lips trying to work. He 
takes their two hands and helplessly pats them. He speaks 
with trembling lips, trying to smile) Co — come — per — per- 
haps — we — we — smile ! 

END OF ACT II 



302 A Treasury of Plays for Children 



ACT III 

At the Toymaker^ s again. Ten days later. The act begins with 
late afternoon. 

The curtain rises on Frau Budel, on her knees, packing a huge 
trunk — a gaudy affair. She packs for a while and then bursts 
into tears, and covers her face with the Toymaker^s coat which she 
is packing. A knock is heard. 

FRAU BUDEL (wiping her eyes on the coat and continuing her 
packing). Co — come in! (Enter a young Clerk, with fat 
cheeks and spectacles; he keeps hat on) Who are you? 

THE CLERK (opening a large book). I'm from the auctioneers, 
Frau Budel. I've come to make the inventory ! 
[Looks about the room. 

FRAU BUDEL (rising). Oh, please wait, sir — come back in an 
hour's time! 

THE CLERK (looking at his watch, and at the great clock without). 
But the appointment was for five o'clock, Madam! 

FRAU BUDEL, I know — but — my husband — you know he 
leaves — he leaves here to-day forever — he goes to Amer- 
ica! He — he wants to see this room as it has always been 
— to say good-bye to it — so ! Instead of leaving it when it 
is all bare ! 

THE CLERK (bowing a great deal, — kindly) . Oh, certainly. 
Madam — we will return later — in an hour's time ! Par- 
don — I understand you do not go with your husband — 
Frau Budel — and that the proceeds of the auction are to 
go to you? 

FRAU BUDEL (tearfully) . Yes — my husband and my son — 
are going to America for a little while — to make a fortune ! 

THE CLERK. In what business, may I ask — Frau Budel? 

FRAU BUDEL. They don't quite know, but we read in a paper 
that a great deal of money can be made in the West of 
America, with cattle raising! 

THE CLERK. YeS? 



The Toymaker of Nuremberg 303 

FRAU BUDEL. Yes! This man in the paper says, if you send 
him five marks in postage stamps, he will show you how to 
make a fortune in a year! 

THE CLERK. America is a wonderful place ! (Bowing) We will 
return later, Frau Budel ! 

FRAU BUDEL. Thank you ! 

[Exeunt Clerk and Assistant. A pause as she goes on packing. 
Enter the Boy, gay and excited. 

THE BOY. Hurry, Mother, hurry, or we'll never be in time! 

FRAU BUDEL {tearfully). Yes — I'm hurrying — David! 

THE BOY. Don't cry, Mother — please ! Come, let me help 
you pack — so ! 

[Picks up a great bunch of clothes and throws them into the 
trunk. 

FRAU BUDEL. Oh — stop ! No ! That is not packing — that 
is stuflBng ! Here — this is the way — so ! 
[Packs carefully again. The Boy watches her pack for some 
moments, then reaches out and catches her hand. 

THE BOY. Oh, Mother, dear (she rises, with waistcoat in her 
hand), you will be kind and watch over her when we are 
away? 

FRAU BUDEL. Oh, yes — my boy — my David — we will pray 
much together for you! I don't know what your father will 
do — he has never been one whole day away from me, since 
we have been married — he is quite helpless, without me ! 

THE BOY (cheerfully). Never fear, I'll look after him, Mother! 

FRAU BUDEL. Yes — but he is so absent-minded, and the out- 
side world always makes him nervous and afraid ! You know 
how he always lives in this room — it is his world ! Outside, 
it is so big and noisy and cruel ! Dear me, you both are such 
children ! — such babies ! 

THE BOY. But I am a man now. Mother! We'll make a for- 
tune in six months — perhaps three. And the first thing I 
do with my money is to buy you a black silk dress, my 
Mother. [Embrace. 

FRAU BUDEL (clings to Mm) . My boy — my boy ! — Adolph 
left me; it seems hard that you must be taken from me, too! 



304 A Treasury of Plays for Children 

TOYMAKER (voice from room) . Emma! 
FRAu BUDEL {drying her eyes). Yes, Abraham! 
TOYMAKER {voice). Comc, Emma, let us have a last look to- 
gether, and see if we've forgotten anything! 
FRAU BUDEL. I'm coming! (Going to the door, weejping) David 

— it will kill him ! He — he never rode a horse in his life ! 
THE BOY. Never fear, Mother, I won't let him ride — I'll do 

it all myself! 
FRAU BUDEL. Oh, I hope it's true that you can make a fortune 

in a year! 
THE BOY. The man in the paper says so! Everyone says so! 

Look at Herr Erkhardt — and lots of people who have done it! 
FRAU BUDEL. But cattle are so dangerous, David! 
THE BOY. Well — perhaps it won't be cattle ! We'll find my 

brother Adolph, first, — he'll know what is best! 
FRAU BUDEL (going out). Oh, it is hard — it is hard! 

{Exit Frau Budel. The Boy is left alone a moment; he closes 

trunk, and moves up stage. A knock is heard and Paul bursts 

in. 
PAUL (in a wild whisper) . David ! David ! [On steps. 
THE BOY. What is it, Paul? 
PAUL, (breathlessly). Are you alone? 
THE BOY. Yes. 
PAUL (coming in a little). I have brought someone to see you 

— no one knows ! 
THE BOY. What! 

PAUL (delightedly, opens door) . Fraulein Hesta ! 

THE BOY. Hesta! (Crosses to Paul) Oh, where is she? Where 

is she? 
PAUL (running to the door and flinging it wide open). Here! 

(Enter the Girl on a run, and flies into the Boy^s arms) I'll 

keep watch on the stairs — you mustn't be long — Herr 

Kronfeldt gets back at six! 

[Exit, closing door. 
THE BOY (brokenly). Oh, my Hesta! — oh, my Hesta! 
THE GIRL. David — oh, David! I told my father it was not 

your father's fault — the elopement — but he wouldn't listen; 



The Toymaker of Nuremberg 305 

he said your father has deceived everyone and shaken his 

faith in mankind! 
THE BOY. Yes — Herr Kronfeldt returned my father's letter 

unopened, and refused to see either Sergeant Strumpf or 

Stauffenbach. Never mind, it was all for the best. 
THE GIRL. Oh, I can't let you go, David! It was all my fault! 

I can't bear it that it is my father who should be the one 

to do this cruel thing! 
THE BOY. Hesta — your father was right ! He has made a man 

of me! He is right! I will become a strong, strong man, 

and do big things now. No more am I a boy — no longer 

do I paint eyelashes on dolls! I am a man now! 

{Lets go of her. 
THE GIRL. Oh, I don't want you to be a man, David, — I want 

you to be — (turns to hiTii) in Nuremberg ! 
THE BOY (tenderly). Hesta — my Hesta — promise you won't 

forget me 

THE GIRL. David • 



THE BOY. I love you 

THE GIRL. I love you! 

THE BOY (taking out divers pieces of the flute, and putting them 

together). See — my old flute! I am going to give it to you 

to keep till I come back! 
THE GIRL. Oh, no — you must take it with you — to keep 

your heart gay ! 
THE BOY (sadly). No, it must be silent now. It has always 

been used to wake the love in your heart! I could not play 

it to strangers now ! Oh, no ! Keep it, my Hesta — and 

when you see it — you will remember — my heart was on 

my lips when I played ! 

[Gives it to her. 
THE GIRL (holding up a little book). I brought this — this book 

— for you, — David ! 
THE BOY. A prayer-book! 
THE GIRL. Yes, and inside — see — a rose Is pressed ! — I've 

so often thrown one of those to you — my David ! 

[They embrace, with emotion. Chimes strike once, 5.30 P. M. 



so 6 A Treasury of Plays for Children 

THE BOY. Half -past five — you must go! 
[Enter Paul. 

PAUL. Time's up — Fraulein Hesta! 

THE GIRL {holding David in her arms) . Ah no ! — {Embrace) 
Good-bye ! Good-bye ! 

THE BOY {holding her close to him). I love you! Look up! 
Look up! The sun is shining in my heart! I'm a man now! 
I'm going to win you — my Hesta! 

THE GIRL. Good-bye! Good-bye! 

THE BOY {brokenly). Good-bye! Good-bye! 

THE GIRL {taking the flute in both her hands, and holding her head 
far back to keep back the tears) . No — you must not 'see me 
last — crying. I will be smiling.'* — so! 
[Tries to smile, and then, mth a moaning cry, turns and runs 
out, sobbing. 

THE BOY. Hesta! 
[Rushes after her. 

PAUL {standing in front of the Boy). Stop! Don't make it 
harder for her, David ! 

THE BOY {gasping). All right — quick — go! Take her home! 
[Exit Paul. The Boy walks up to table, struggling with his 
emotion, which he masters with difficulty. He ends up, sitting 
at his fathe/s little work-table, and holding his head in his 
hands; he sways from side to side. Enter the Toymaker, carry- 
ing the dog in both arms. He regards his son in his attitude of 
despair. 

TOYMAKER {worried). David — what is this? 

THE BOY {rising, and looking at door). I have just said good- 
bye to my love lady! 

TOYMAKER {amazcd) . She was here 

THE BOY. Yes, sir — she's just gone ! 

TOYMAKER. It was good of her to come! {Going over to the Boy) 
My David — {looks up into the Boy's face) we'll win her, eh? 

THE BOY {holds on to his father). Oh, yes, sir — bless you, sir! 

TOYMAKER. We'll make a fortune — eh, David? 

THE BOY {begins to smile). Oh, yes. Father! 

TOYMAKER {wistfully). You think so? 



The Toymaker of Nuremberg 307 

THE BOY {enthusiastically) . Of course — Father ! 

TOYMAKER. And Nebuchadnezzar? {Holds up the dog) We 

take him? 
THE BOY. Oh, yes — Father — we'll take the dog! He can 

help us with the cattle — and keep the burglars ofiF! 

TOYMAKER {shyly) . Burglars ! 

THE BOY. Yes, Father! 

TOYMAKER {looMug at the dog). He Is not much acquainted with 

burglars, David! 
THE BOY. Oh, Father, won't it be wonderful to go out into 

the world — • so great and big — and fight our way through! 
TOYMAKER {nodding timidly) . Yes — David ! 
THE BOY. We'll show them — we'll show them, — • eh, Father? 
TOYMAKER {not Understanding, but agreeing) . Yes — David ! 
THE BOY. Paint eyelashes on dolls — • pah ! — that's child work 

to what I'm going to do now — to the life we're going to 

lead — to the men we're going to become ! No more toys 

now, Father — we are going to do bigger things! 
TOYMAKER. Ycs, David! 
THE BOY {excitedly, coming back). Oh, it's glorious. Father, 

glorious — what love can do for a man! I feel I could move 

the world — hf t this house ! 

TOYMAKER {timidly). Please ' 

THE BOY {pausing). Yes, Father 

TOYMAKER. You'U let me make a doll now and then! 

THE BOY. Of course. Father — if you want to — but you'll 

never want to again ■ 

TOYMAKER. You think so? 

THE BOY. Of course, Father; toys are children's things. We'U 

be men, Father — big men! 

TOYMAKER. Oh ! 

[Enter Frau Budel. She halts and regards them. They look at 
her anxiously. 
FRAU BUDEL {in a hard, dry voice). No — don't be afraid — 
I'm not going to cry. Is — is everything ready? 
[Boy takes dog, goes behind Emma, and puts him off. Comes 
back and sits on arm of chair. 



308 A Treasury of Plays for Children 

TOYMAKER. Ycs — Emma. Except our personal luggage — 

up-stairs ! 
FRAU BUDEL. Personal luggage? 
TOYMAKER. Yes — some things — some private things — 

Emma. (An embarrassed pause, as all three look on the 

ground) Emma — Strumpf and Stauffenbach will look after 

you when — when I am gone ! 
FRAU BUDEL (trying to hold back her tears). Ye — es! 
TOYMAKER. I have left for you the little money I have saved, 

and with the auction of these — (looks yearningly around the 

room) these things — you will be all right for a year — when 

we come back — rich ! 

FRAU BUDEL. Yes ! 

TOYMAKER. You will — take care of yourself — Emma? 

FRAU BUDEL. Ye — ■ CS ! 

TOYMAKER. You — you won't be lonesome? 

FRAU BUDEL (weokly). Oh, no! 

TOYMAKER (going up to his wife, taking her hands in his and 
holding them, — his lips trembling) . Emma ! 

FRAU BUDEL (trembling — on the verge of tears — clinging to his 
hands). My boy — my boy! 
[They cling to each other, and look into each oiher^s eyes. 

TOYMAKER. It is — for the best — Emma ! 
[They both nod to each other. 

THE BOY. Stop that — Father — Mother — you mustn't! 

TOYMAKER. Emma ! 

FRAU BUDEL. Abraham! 

[Voices vyithout. A military knock is hea d on the door. The two 
old people still cling to each other, looking into each other's eyes. 
The Boy opens the door, and in walks the old Sergeant and the Poet. 

SERGEANT. Abraham ! 

TOYMAKER (still clinging to his wife's hands). Old friends! 

SERGEANT (cxcitedly). There's a big crowd waiting at the sta- 
tion for you — to say good-bye ! 

TOYMAKER (in terror). Good-bye? 

POET. Yes, Abraham, it's a big crowd — mostly children! 
Why, I never thought you knew so many children! 



The Toymalcer of Nuremberg 309 

TOYMAKER {witk trembling voice, clinging closer to his wife). 
Emma — I am scared ! 

FRAU BUDEL. Oh, my boy ! 

TOYMAKER (choMng) . I could not leave you, Emma. Oh no — 
I cannot leave you — you are helpless without me! She is 
helpless without me! 

FRAU BUDEL. No, Abraham, I am brave — see! 

[Tries to hold her head up and cannot. They cling to each 
other. 

THE BOY (comes behind them, and then between them) . Father — 
Mother — you mustn't ! 

TOYMAKER. But she is such a child — I have never left her a 
day — she is helpless ! She is such a child ! 

FRAU BUDEL. Be brave — Abraham 

THE BOY. Yes, Father — it's nearly time to go! 

TOYMAKER (trying to command himself). Please — I am scared! 
It is hard to be brave ! I would make a bad soldier — eh — 
Strumpf? (The Sergeant shakes his head) Come here — you 
two bad fellows! (His two old friends come up to him. TJie 
Toymaker reaches in his coat, and brings out an old watch and 
a bunch of medals) Here, Stauffenbach, — here is the Schiller 
watch — and you, Strumpf — your medals — I pin them on, 
so! (The Sergeant stands and salutes, as the Toymaker pins 
the medals on) You have doubly won these honours — Ser- 
geant Strumpf! What you did for your old friend last week 
— was the bravest and noblest deed of your life! Bless you! 

SERGEANT (brokenly). We can't let you go to America alone; 
we must come with you! 

POET. Yes — please let us come too! 

TOYMAKER. No — plcase — you stay and care for my Emma 
here! David and I will go out into the world — alone! 

THE BOY. Yes, Father! 

SERGEANT. Well — if I Can't go — I want you to take this to 
defend yourself against dangers. (Draws out from his coat 
tails an enormous campaign revolver) Here is my campaign 
revolver! Take it — you will need it in America. [Forces it 
on him. 



310 A Treasury of Plays for Children 

TOTMAKER {taking it gingerly in both hands). Thank you — 

Strumpf ! 
SERGEANT. Take care — it is loaded! 
TOYMAKER {lojjing it at once carefully with both hands on the 

floor). Thank you, Strumpf — that was thoughtful of you! 

Please unfix it! 

SERGEANT. Unfix it? 

TOYMAKER. Ycs — take out the loads! 

SERGEANT. Oh! (Picks lip the pistol and goes to table with Poet) 

There ! 
TOYMAKER (smiUng). Thank you! 

[KiiocJc at door. Clerk enters. Sergeant sits on bench. Poet at 

table, Fran Bndel on trunk. 

CLERK {out of breath). Beg pardon — Herr Budel 

TOYMAKER. Ycs! Yes! 

CLERK. I have bought your tickets, Herr Budei 

TOYMAKER. Ycs ! Yes! 
CLERK. But the dog! 

[The Boy runs off and gets dog. 
TOYMAKER. The dog — well — sir ! 
CLERK. \Mien I brought your tickets you did not say anything 

about taking the dog. 
TOYMAKER. Well, sir? 
CLERK. It costs quite a lot to take a dog to America. 

TOYINLVKER. HoW mUch? 

CLERK. About one hundred marks ! 

TOYMAKER. One hundred marks — No — please — I can't — 
no — are you sure? 

CLERK. Oh, yes ! 

TOYMAKER. But Nebuchadnczzar here — s^urely it would be 
different for him? 

CLERK. No — Herr Budel — he is a dog and has to pay the 
dog rate. 

TOYMAKER. Pleasc, you are sure, sir? Well, you take him, 
eh? — You take him to Friiulein Hesta Kronfeldt — to 
keep till we come back? {Taking Clerk aside^ Please don't 
tell the dog we are gone till to-morrow — eh? 



The Toy maker of Nuremberg 311 

CLERK. No, sir! 

TOYMAKER. Now take him away (Exit Clerk) I'll not 

look. Is he gone? I go — now — up-stairs {Poet gives 

him the pistol) Strumpf — Stauffenbach — help me — 

(They cross to door) I'll get my personal luggage — we go. 

Come, David! 

[The three go out, leaving the Toymaker alone vyith his wife. 

He stands staring at her; holds out his arms to her at door. 

Emma! 

FRAU BUDEL (running to him and embracing him). Abraham! 

TOYivL^KER (holding her for a moment). All will come right, 
Emma — all will come right ! 

[She nods her head, speechless with grief, trying to smile; he 
turns and goes out of the room smiling at her. She then creeps 
over to the Toymaker'' s little work-table and, with infinite yearn- 
ing and tenderness, kneels down and, putting her arms across 
the table, lays her head down on them and cries silently — her 
heart broken. A pause. Feet and voices are heard on the 
stairs without. Then a knock at door. Frau Budel hears 
nothing, but weeps despairingly. The knock is heard again, 
and then the door is opened, and in bursts Adolph Budel — an 
enormous, six-foot, fair-haired lad of the commercial-traveller 
type — of Kansas City — who belongs to the Elks, and wears a 
shark^s tooth on his ivatch-chain. He is dressed in a brown 
business coat, dark grey trousers, immaculate white waistcoat, a 
white automobile coat, hat, gauntlets and goggles. With him is 
his chauffeur, Tom Macey, a typical New Yorker, dressed in 
black leather uniform. Frau Budel sees and hears nothing. 

CHAUFFEUR. This is the place, sir! 

ADOLPH (in a whisper — seeing his mother) . Wait outside, Tom 
— till I call you ! (Puts coat over rail. Exit Macey. Adolph 
stands still some moments, looking tenderly at his mother, pull- 
ing off his gloves at last. He then goes sloidy towards her. 
Comes round to her. Tenderly) Frau Budel ! 

FRAU BUDEL (witJiout raising her head — with a moaning sob). 
Yes! 

ADOLPH (putting a hand quietly on her) . Mother ! 



312 A Treasury of Plays for Children 

FRAU BUDEL (sits slowly up, staHng at him through her tears, 

tremblingly). Sir — who are you? 
ADOLPH {Raising her. In a low voice). Mother — it is me — 



your son 



FRAU BUDEL {vaguely staring at him) . My — my son? 
ADOLPH (brokenly). Yes — your boy — Mother — your Adolph! 

FRAU BUDEL. Adolph! 

[Stares at him. 

ADOLPH {coming nearer to her on his knees, and putting his arms 
tenderly around her). Yes — I am your boy — Mother — 
your boy ! 

FRAU BUDEL {sobbing and pressing the big man close to her heart). 
Adolph! Oh, my Adolph! {They hold each other tight for a 
while, without a word) You've come back! You've come 
back! Oh, my boy! My little boy! My baby! {Rocks to 
and fro with him, sobbing) My heart has starved for you. 
My heart has starved for you! My heart has starved for 
you! Oh! Oh! 

ADOLPH {choking). I am here — Mother — I am here! 

FRAU BUDEL. Adolph — Adolph! My Adolph! 

ADOLPH. Mother — I didn't know you were so pretty — how 
young and pretty you are — for such a big fellow like me ! 

FRAU BUDEL. Oh, why didn't you write? 

ADOLPH. Oh — I cannot write letters! I don't know what to 
say! I can't write to those I love. 

FRAU BUDEL {realizing it is her son). Adolph! — Adolph! 
Where did you come from? How did you come? 

ADOLPH. I came down from Berlin in my bubble. 

FRAU BUDEL {puzzUd). Bubble? 

ADOLPH. Yes — automobile — motor-car! 

FRAU BUDEL. What is this — my boy — you have an auto- 
machine? 

ADOLPH. Yes, Mother — yes — it's a six cylinder, and it's a 
beauty on the up-grades! 

FRAU BUDEL. But, Adolph, my son — only princes and such 
people have such things ! 

ADOLPH {rising). That's it, Mother — that's it! 



The Toy maker of Nuremberg 313 

FRAu BUDEL {still dazed). That's it? 

ADOLPH. Mother — look at me — look at me — I'm rich! 

FRAU BUDEL. Rich? 

ADOLPH {excitedly) . Yes — American rich — really — gor- 
geously — rollingly , magnificently rich ! 

FRAU BUDEL {in ttwe) . My Adolph! 

ADOLPH {laughing) . That's it — I never wrote — because I 
was working hard — heart-breakingly hard — praying all 
the time that when I made my fortune — I'd come home and 
buy out the town {with a soh) for you! Well, I only made 
my pile last year — by the merest stroke of luck ! 

FRAU BUDEL. Luck? 

ADOLPH. Yes, luck ! I was in Kansas City — doing drummer- 
work for suspenders — patent suspenders — when I saw 
Bears — Teddy Bears — you know — these things — these 
Toy Bears! 

FRAU BUDEL. Yes — yes ! 

ADOLPH. Well, I bought out McCleary's shop — joined forces 
— and scooped the market of Teddy Bears! 

FRAU BUDEL {dazed) . Scooped? 

ADOLPli. Yes, Mother — I cornered Teddy Bears — and. 
Mother — Mother, they sold like hot-cakes ! The children 
dropped their dolls, and grabbed up the bears! Lord, how 
the money rolled in ! Mother, I am rich — gorgeously, mag- 
numptiously — rich! I'm called the "Teddy Bear King." 

FRAU BUDEL {in horror). The Teddy Bear King! 

ADOLPH. Yes — here's one. {Takes out a little white Teddy 
Bear from his pocket) See, I always carry one. 

FRAU BUDEL. But — my son — you don't know 

[A knock and in comes the auctioneer's Clerk. 

CLERK. It is near six o'clock, Frau Budel. 

ADOLPH. Who is this. Mother? 

FRAU BUDEL. The Auctioneer — Adolph ! 

ADOLPH. What! Auctioneer! Why? What for? 

FRAU BUDEL. Oh, Adolph — Kronfeldt has turned us out — 
wouldn't give your father work because he wouldn't make 
Teddy Bears ! Your Teddy Bears ! 



314 A Treasury of Plays for Children 

ADOLPH (astounded). What! 

FRAU BUDEL. And David — your brother — is in love with 

Fraulein Hesta — and Kronfeldt thinks your father is a 

villain, and wanted to marry into his family for the 

money ! 
ADOLPH. Kronfeldt thinks that, does he? 
FRAU BUDEL {iveeping) . Yes — so your father — and David — 

are going to America — to start a ranch ! 

[Enter Paul on the run. 
PAUL. David — David 

{Sees Adolph; turns to go. 
AD9LPH. Here — you — what's your name? 
PAUL. Paul, sir! 
ADOLPH. Tom! 
TOM. Yes, sir! 

[Enter Chauffeur. 
ADOLPH (scribbles with a pencil on a card). Here, Paul — get 

into my bubble and show Tom here — the quickest way to 

Herr Kronfeldt's, and bring Fraulein Hesta and her father 

here as quickly as you can 

FRAU BUDEL. But he won't come, Adolph! We've tried to 

write him — ourselves ! 
ADOLPH. Won't come — won't he? Wait till he reads this! 

I'm his boss — Mother ! — what I say goes with Kronfeldt ! 

— I'm the "Teddy Bear King"! And if he doesn't get here 

inside of twenty minutes — Tom Macey — I'll make you 

and him look like the middle of last July! Quick, both of 



you 



[Gives card to Paid. Exeunt Paul and Chauffeur. 
PAUL (as he goes out, in awe). The Teddy Bear King! 
ADOLPH (to Auctioneer). The auction is off! I'll pay you for 

your trouble. 
CLERK. Oh, thank you, sir ! 

[Exits. 
ADOLPH. Who owns this house — who's the actual landlord? 
FRAU BUDEL. Herr Shultz! 
ADOLPH. It's ours ! We'll buy the place ! God — I never had 



The Toymaker of Nuremberg 315 

the chance to do what I wanted with my money — {With a 
catch in his voice) Mother, I've dreamt of doing this — 
Mother, I've dreamt of this ! Mother — you say my brother 
David — can't get married because he's too poor? 

FRAu BUDEL. Ycs — he paints the eyelashes on the dolls! 

ADOLPH. I'll settle that — fifty thousand marks for a wedding 
present! I'll make old Kronfeldt change his mind! 

FRAU BUDEL. Adolph — you mean — your father — David — 
won't be taken away from me? 

ADOLPH. Taken away from you? (Embraces her) I'd like to 
see the man who'd dare to! No! I'll buy this house for- 
ever — for the whole damn family, and we'll never go away, 
and live forever here — together ! 

FRAU BUDEL (weeping) . Oh ! But wait — your father — he 
mustn't see you at first — it would be too much for him ! 
He's coming down-stairs now! 

ADOLPH. What shall I do? 

FRAU BUDEL (pusMng him out) . Hide outside the front door — 
till he is in a proper state to tell him! 

ADOLPH. All right! (Kisses his mother) Isn't it great — 
Mother! Aren't you proud of your boy, eh? 

FRAU BUDEL. Oh, SO much! 

ADOLPH. And I made it by the merest chance — Mother! 

FRAU BUDEL. Yes — yes — Now wait here till I call you ! 
[Pushes him out door and shuts it, breathing hard. The Toy- 
maker enters, carrying with difficulty a bird-cage, a large vase, 
a doll, his dog under his arm, and the Sergeant's huge revolver. 

FRAU BUDEL. What are those things — Abraham? 

TOYMAKER. My — my personal iuggage! 

[Enter the Sergeant and the Poet, carrying more toys and bric- 
a-brac. 

TOYMAKER (wcakly). Emma! 

FRAU BUDEL. Yes, Abraham? 

TOYMAKER. I Say good-bye — now. 

FRAU BUDEL. Ycs — Abraham — but? 

TOYMAKER. Wait — I say good-bye to the room first. 

ALL. Yes. 



316 A Treasury of Plays for Children 

TOYMAKER. Now I say good-bye — quick ! (Goes to the middle 
of the room, holding his vase, doll, pistol, and bird-cage, — and 
stares yearningly all round) Good-bye, old room ! {Stands still 
a moment, then runs to his wife) Good-bye, Emma! 

FRAu BUDEL. Wait, Abraham 

TOYMAKER (^running to the door). No — no — I can't — I must 
be quick! — Good-bye — good-bye! 

[Opens the door, disclosing Adolph, and behind him Herr Kron- 
feldt, smiling, — Hesta, Paid and Chauffeur. The Toymaker 
halts and stares at them, looking up at the big stranger. A long 
pause. Adolph is very moved. 

ADOLPH (brokenly). It was cruel. 

TOYMAKER. Ycs, sir. 

ADOLPH. Don't you know me? 

TOYMAKER (dazcd). No, sir! 

ADOLPH. I'm your son. 

TOYMAKER {nodding his head). Yes, sir? 

ADOLPH. Father — I'm your boy, come back to you. Come 

back — rich! I've made a fortune! I'm the "Teddy Bear 

King!" 
TOYMAKER. The Teddy Bear King? 
ADOLPH {holding out his arms) . Father — Father — I'm your 

boy, Adolph! 
TOYMAKER {stares at him a long while; then with a little cry drops 

everything in his arms). Adolph! — my Adolph! 

[They embrace. Everyone is moved. 
SERGEANT {taking out a handkerchief, brokenly). Gott in Him- 

mel! 
TOYMAKER {CUngs to Adolph, dazed and astonished. Turns to 

Emma). He is here, Emma. He is here — our firstborn! 
FRAU BUDEL. Yes, I kuow — I kuow ! 
ADOLPH. Father, it's all right! Everything's all right! You 

won't have to go to America now. As for David and Frau- 

lein Hesta — here she is — it's all settled. 
KRONFELDT {smiUng and bowing). It's all right, Budel. It's all 

right, now. 
ADOLPH. It's all settled, Father! — Where is David? 



The Toy maker of Nuremberg 317 

TOYMAKER {Still dinging to his son, motions feebly. Looks up 
yearningly into kis face). We — we don't go? 

ADOLPH. No — Father — here you stay. 

TOYMAKER {Tums and gives a long and wistful look about the room, 
still clinging to the lapel of his son's coat. Then he again looks 
yearningly up at his son, like a child). Please, I — I can stay? 

ADOLPH (nods). Yes. 

TOYMAKER. Oh ! 

[Sighs. 
ADOLPH {brokenly). Yes, Father. Why, I could buy the whole 

square if you wanted it! It's yours and always will be yours 

forever ! 
TOYMAKER {looks around room as before). I — I can stay? 
ADOLPH {nods). Yes. 
TOYMAKER {sighs). Oil! 
ADOLPH. Oh, my God, yes! — Daddy — forever — forever! 

I'm here to care for you now — to protect you — Daddy ! 

Daddy! You can stay! 
TOYMAKER {stares up at his son; then a startled look). And 

David! Dave! — Oh, oh, come! {Beckons Hesta with both 

hands) C — come. {Kronfeldt disengages her. She comes 

quickly to him) Da — {Weakly) David. 

[Leads her tremblingly to door, and tries to call. All watch him. 
THE BOY {off stage). Yes, Father! 
TOYMAKER. Come ! 

[Enter the Boy, carrying his arms full of books. 
THE BOY. Yes, Father. {Sees Hesta; lets books fall with a crash) 

Hesta! 
TOYMAKER. David, it has come. It is the Teddy Bear. 
THE BOY. What are you saying, Father? 
TOYMAKER. The Teddy Bear. He is rich. He has come. He 

is my son. He is Adolph. 
DAVID. Adolph! 
TOYMAKER. Yes, he is rich. I told you. He gives you your 

love lady. So! 

[Joins hands of Boy and Girl. 
DAVID. You mean? 



318 A Treasury of Plays for Children 

TOYMAKER. Ycs. {Tums his hack on the lovers and waves to the 

others) We — 'we not look. 
DAVID {with sob, embraces Hesta). My Hesta! 
THE GIRL. David! 
TOYMAKER (His back to lovers. Smiles through tears; his voice 

breaks for the first time; simply). I — I — think I thank God. 

CURTAIN 

End of Play 



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